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The Construal of Ideational Meaning and RelationalMeaning in Pop-Islamic Songs and Dangdut-Islamic

Songs

A THESIS

In Partial Fulfillment of the Requirements for

S-1 Degree Majoring Linguistics in English Department Faculty of Humanities

Diponegoro University

Submitted by:

Inneke Putri Puspasari

13020111130100

FACULTY OF HUMANITIES

DIPONEGORO UNIVERSITY

SEMARANG

2015

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PRONOUNCEMENT

The writer honestly confirms that she writes this thesis by herself and without

taking any works from other research in S-1, S-2, S-3, and in diploma degree of any

university. The writer also ascertains that she does not take any material from other

thesis or works except from the references mentioned.

Semarang, September 2015

Inneke Putri Puspasari

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MOTTO AND DEDICATION

Everyone is rewarded for the effort one makes

-The Quran 20:15-

You are today where your thoughts have brought you

You will be tomorrow where your thoughts take you

-James Allen-

This thesis is dedicated to

my beloved family and

to everyone who helped me accomplished this thesis

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APPROVAL

Approved by,

Thesis Advisor

Dr. Nurhayati, M.Hum

NIP. 196111091987032001

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VALIDATION

Approved by

Strata I Thesis Examination Committee

Faculty of Humanities Diponegoro University

On September 30, 2015

Chair Person First Member

Dr. J. Herudjati P., M.Sc. Dra. Wiwiek Sundari, M.Hum.

NIP. 195303271981031006 NIP. 195906071990032001

Second Member Third Member

Prihantoro, S.S., M.A. Ariya Jati, S.S., M.A.

NIP. 198306292006041002 NIP. 197802282005021001

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ACKNOWLEDGEMENT

First of all, I would like to thank the almighty Allah SWT who has given me

blessing, strength, spirit and health so that I could accomplish this thesis entitled

“The Construal of Ideational Meaning and Relational Meaning in Pop-Islamic

Songs and Dangdut-Islamic Songs”.

Furthermore, I would like to express my deepest gratitude to Dr. Nurhayati,

M.Hum – the writer’s advisor – who has given guidance, advices, suggestions, and

correction to the writer so that this thesis can be accomplished.

I also would like to express my sincere gratitude to the following:

1. Dr. Redyanto Noor, M.Hum, as the Dean of Humanities Faculties of Diponegoro

University;

2. Sukarni Suryaningsih S.S, M.Hum, as the Head of English Department, Faculty

of Humanities, Diponegoro University;

3. Dra. Lubna Sungkar, M.Hum., my academic supervisor;

4. All lectures of English Department who have guided and shared their valuable

knowledge to the writer;

5. All academic staff in the Faculty of Humanities who gave their helpful

contributions;

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6. My father, Ir. Sigit Muryanto, M.P. who always become my inspiration and

superhero and my mother, Kusumawati who has given affections, endless pray,

and everything. Thank you for being the best parents ever.

7. My little sisters, Dewi, Dini, Ayu, and Caca for never ending support and my

only late brother, Dana for being my best little brother and inspiring me to be a

better person.

8. Perkasa Bagus Pradana who always gives advices and supports to me in every

step I take. Thank you for always being there as my best boyfriend, friend, and

brother. Thank you for always encouraging me to be a better person.

9. The best girls I’ve met in the college Rara, Selly, Galuh, Gita, thank you for

being weird, for sharing both silly and good things, and for cheering me up. No

word can describe how I am truly happy to be a part of you, guys.

10. All 2011 English Department Students for sharing experiences and laughter

11. The boarding house mates, Erika, Mirza, Erinda, Vera, Winda, Kamila, thank

you for sharing laughter and being my alarm. You girls always remind and

encourage me to finish this thesis.

12. Gloria Firmanti, a comrade with the same thesis advisor who has given her time

to listen to my complaints and to give advices concerning my thesis.

13. All Jamboners, Ela, Fatnan, Ijal, Ligya, Novia, Riecho, Tika, Mbak Katrin, Mbak

Risa, Zetta, Syarif, for sharing unforgettable experiences during a month. Thank

you for being my new family and my lovely teammates.

14. Gratitude is also addressed to many people who cannot be mentioned one by one.

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I realize that this thesis is far from being perfect. Consequently, I would be

glad to receive any constructive criticism and suggestion to make this thesis

better.

Finally, I expect that this thesis will be useful for the reader who wants to

learn ideational meaning and relational meaning.

Semarang, September 2015

Inneke Putri Puspasari

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TABLE OF CONTENTS

TITLES…………………………………………………………………………….i

PRONOUNCEMENT............................................................................................. ii

MOTTO AND DEDICATION .............................................................................. iii

APPROVAL ...................................................................................................... iv

VALIDATION ....................................................................................................... v

ACKNOWLEDGEMENT ..................................................................................... vi

TABLE OF CONTENTS....................................................................................... ix

LIST OF TABELS .................................................................................................xi

ABSTRACT ..................................................................................................... xii

CHAPTER I INTRODUCTION ....................................................................... 1

1.1.Background of the Study......................................................... 1

1.2. Research Question.................................................................. 3

1.3. Purposes of the Study............................................................. 4

1.4. Previous Studies ..................................................................... 4

1.5. Writing Outline ...................................................................... 7

CHAPTER II THEORETICAL FRAMEWORK ................................................ 9

2.1. Functional Grammar .............................................................. 9

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2.2. Metafunctions....................................................................... 10

2.3. Transitivity System ...............................................................10

2.4. Mood Sytem…………………………………………………15

2.4.1. Mood Element.............................................................16

2.4.2. Residue Element .........................................................18

2.5. Mood Types ..........................................................................20

2.5.1. Indicative Mood ..........................................................21

2.5.2. Imperative Mood.........................................................21

CHAPTER III RESEARCH METHOD.............................................................. 22

3.1. Research Types .................................................................... 22

3.2. Data, Population, Sample, and Source of Data .................... 23

3.3. Method of Collecting Data................................................... 24

3.4. Method of Analyzing Data................................................... 24

CHAPTER IV DATA ANALYSIS..................................................................... 26

4.1. Representation of God in Pop-Islamic Songs ...................... 26

4.2. Representation of God in Dangdut-Islamic Songs............... 35

4.3. Relational Meaning in Pop-Islamic Songs........................... 43

4.4. Relational Meaning in Dangdut-Islamic Songs ................... 51

CHAPTER V CONCLUSION........................................................................... 62

5.1. Conclusion ............................................................................62

5.2. Suggestion .............................................................................64

REFERENCES ..................................................................................................... 65

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LIST OF TABELS

Table 2.1 Speech functions and responses ............................................................16

Table 2.2 Finite Verbal Operator...........................................................................17

Table 2.3 Kind of Mood Adjuncts ........................................................................20

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ABSTRACT

Lagu merupakan sebuah karya sastra dimana di dalam lirik-liriknya tercurahekspresi, ide, pemikiran, keinginan, dan pengalaman dari pengarang. Karena setiappengarang mempunyai ciri dan gaya bahasa sendiri dalam merangkai lirik lagu,seringkali pendengar tidak memahami secara mendalam tentang makna di dalam lagutersebut. Dalam skripsi ini, penulis ingin menafsirkan makna tentang fenomena apasaja yang mencoba pengarang curahkan dalam lagu (ideational meaning). Selain itu,penulis juga ingin mengungkapkan hubungan sosial pengarang dalam lagu (relationalmeaning). Pada kesempatan ini, penulis memilih meneliti lirik lagu pop-religi dariOpick dan lirik lagu dangdut-religi dari Rhoma Irama, yang notabene merupakan duagenre yang berbeda.

Penelitian ini bertujuan untuk menafsirkan bagaimana pengarang lagu pop-religi dan dangdut-religi merepresentasikan Tuhan di dalam lirik-lirik lagu mereka.Selain itu, penulis juga ingin mengungkapkan hubungan Tuhan dengan pengarangsebagai manusia di dalam lagu pop-religi dan dangdut-religi. Pada skripsi ini penulismembatasi data hanya dengan memilih 8 lagu dari masing-masing genre lagu di atas.Dalam mengumpulkan data, penulis menggunakan metode simak bebas libat cakap.Kemudian untuk menganalisis data, penulis menggunakan metode padan referensial.Penulis juga menggunakan teknik bagi unsur langsung, teknik ganti, dan teknikperluas dari metode agih.

Hasil penelitian menyatakan bahwa ada 7 jenis ideational meaning yangterkandung dalam lagu pop-religi dan ada 6 jenis ideational meaning di dalam lagudangdut-religi. Dari penelitian ini juga terungkap bahwa ada 9 jenis relationalmeaning di dalam lagu pop-religi. Kemudian di dalam lagu dangdut-religi, ada 9 jenisrelational meaning juga yang bisa terungkap melalui analisis.

Kata kunci: Ideational meaning, relational meaning, lagu pop-religi, lagu dangdut-religi

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CHAPTER I

INTRODUCTION

In this chapter, the writer will explain background for conducting the research.

Then, the writer also reveals research questions and purposes of doing the research.

Besides, the writer tries to review some previous studies related to the research.

Moreover, the writer shows writing outline of this research from chapter I through

chapter V.

1.1.Background of the Study

A language cannot be separated from human being’s life. We cannot deny that

language has some important roles. One of them is that we use language as a tool to

communicate with each other. Language that we share conveys a meaning.

Sometimes, it is hard to understand intended meaning. To understand more, we need

to consider an element of functional grammar which is known as metafunctions.

Metafunctions divides meaning into three kinds which are namely ideational,

relational, and textual.

From these kinds of meaning, the writer takes her interest in ideational and

relational meaning in order to conduct the research. The writer thinks that it is

important to learn both ideational and relational meaning. Through ideational

meaning, we can understand intended meaning by revealing experiences, involved

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participants, and surrounding circumstances contained in a clause. Ideational meaning

is construed by applying a grammatical tool, namely transitivity system. Besides,

learning relational meaning is also important because we are able to know

relationship between speaker and hearer. In addition, we can reveal context of

situation contained in a clause. Relational meaning can be achieved by using a

grammatical tool, namely mood system. Therefore, by understanding both ideational

and relational meaning, we can understand a clause deeply. The meanings mentioned

above are generally conveyed through any kind of text including script, short story,

poem, and also song’s lyrics.

As we know, song is a medium to express feelings, thoughts, and desires. An

author of song communicates and expresses what he or she feels, what he or she

thinks, and what he or she experiences using song lyrics and music. In compiling the

lyrics, he or she often uses words that do not directly refer to intended meaning. The

author of the song also makes a song with creative and beautiful lyrics. The song is

not only to amuse people, but it is also to influence them. According to that

phenomenon, it needs a research to understand meanings that represent phenomena

experienced by the author of the song and to reveal relationship between speaker or

author and hearer related to the context of situation.

There are some genres of music, such as pop, rock, jazz, dangdut, Islamic, and so

on. To conduct the research, the writer chooses certain Islamic songs as data of the

research because Indonesia, our country, is well known as religious country which

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people mostly belong to Islam religion. The writer uses certain Opick’s songs and

Rhoma Irama’s songs. Opick is one of famous pop-Islamic singers, while Rhoma

Irama is well known as the king of dangdut that also sings some Islamic songs. The

writer uses different genres of Islamic songs that are pop and dangdut. Although pop

and dangdut are certainly different genres, these genres have drawn the writer’s

attention to observe the song lyrics. On the contrary, Opick’s songs and Rhoma

Irama’s songs have a similarity that their songs belong to Islamic genre.

Since the songs are Islamic, the lyrics of the songs definitely relate to God. It is

interesting to compare ideational meanings and relational meanings contained in pop-

Islamic songs and in dangdut-Islamic songs because the lyrics of the songs are from

different genre of Islamic songs. The writer wants to construe certain lyrics of both

genres which represent God. Moreover, the writer would like to reveal the

relationship between God and human beings in pop-Islamic songs and in dangdut-

Islamic songs.

1.2.Research Questions

Below are research questions in conducting the research.

1. How do the authors of pop-Islamic and dangdut-Islamic songs represent God?

2. How do the authors of pop-Islamic and dangdut-Islamic songs express the

relationship between God and human beings?

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1.3.Purposes of the Study

According to the research questions, there are two purposes of study, as follows:

1. To reconstruct how the authors of pop-Islamic songs and dangdut-Islamic

songs represent God

2. To reveal the relationship between God and human beings in pop-Islamic

songs and dangdut-Islamic songs

1.4.Previous Studies

The research of ideational meanings and relational meanings has been conducted

by some students of English Department in Diponegoro University. They are Susi

Wigati who analyzed Ideational Meaning pada lirik lagu Breakaway, I Believe I Can

Fly, We Will Not Go Down, dan White Flag and Anis Fariatin Fajrien who analyzed

Interpersonal Meaning Representing Tenor of Discourse of “Spongebob Squarepants

Movie Transcript: Fear of a Krabby Patty by C.H. Greenbalt and Paul Tibbit”. In

this sub-chapter, the writer would like to review the two previous studies, as follows:

The first research comes from Susi Wigati (2009) entitled Ideational Meaning

pada lirik lagu Breakaway, I Believe I Can Fly, We Will Not Go Down, dan White

Flag. Susi Wigati as the writer of the research wants to know ideational meaning of

the four songs by identifying transitivity system on the songs lyrics and by

identifying emotive devices in the songs lyrics. There is no research question in her

research, so readers may not understand what she wants to observe exactly. Her

research belongs to descriptive qualitative To support her analysis, she applies some

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appropriate theories related to the topic of her research. She uses transitivity theory

by Halliday (1985), emotive devices theory from Stephen Ullman (1977), and figures

of speech theory from Geofrey N. Leech. Then, the result of her research is that she

finds eight ideational meanings from the four songs. The writer also thinks that these

ideational meanings can be represented not only by using transitivity system, but

these can also be represented by using lexical devices. Moreover, the writer

concludes that these ideational meanings are ideational meanings which represent

spirit to achieve dreams as the author of the songs tells in the songs. The author of the

songs expects that the listeners can feel like what the author feels, so that they can be

influenced to have spirit for achieving their dreams. Thus, her conclusion is good

enough to fulfill the purposes of the thesis.

The second research to be discussed is Interpersonal Meaning Representing

Tenor of Discourse of “Spongebob Squarepants Movie Transcript: Fear of a Krabby

Patty by C.H. Greenbalt and Paul Tibbit” written by Anis Fariatin Fajrien (2009).

She conducts a descriptive qualitative research that data are described systematically,

factually, and accurately. Besides, the research is classified as quantitative because

she calculates frequency of each mood type of the data. Similar to the first research,

her research does not contain research questions. The purposes of her research are to

describe every element in a clause in SpongeBob Squarepants movie transcript based

on the mood system (mood structure and mood type), to find the interpersonal

meaning occured in the film transcript that is the tenor of discourse (role

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relationship), and to find the speech function. In conducting her research, she uses

some theories related to the topic. These theories are the theory of functional

grammar by Halliday (1985), the theory from Gerot and Wignell (1994), and the

theory from Butt et al (1995). After analysing data, she concludes that there are 236

clauses which consist of declarative clause (67,5%), interrogative clause (18,8%),

imperative clause (13,3%), and exclamative (0,4%). By seeing the mood types, the

writer finds some speech functions made by the speakers, such as giving and

demanding goods and services; and information. Moreover, the writer also construes

the tenor of discourse of the data by analysing social role, status, and social distance.

After reviewing two previous studies above, the writer would like to conduct the

research differently by combining two topics from the previous studies. In this

opportunity, the writer observes both ideational meaning and interpersonal

(relational) meaning. In the first previous study, she uses different songs to be

analyzed, while in the second previous study, the data are taken from movie script. It

is obviously different with this research. The data of this research are taken from

songs lyrics of different genre of song that is pop-Islamic and dangdut-Islamic.

Basically, the purpose of this research has similarities among the previous studies.

Since this research contains two topics, the purposes are combination of the purpose

of the previous studies. This research tries to construe ideational meaning similar to

the first previous study, but the writer narrows the purpose that is to reconstruct how

the authors of the songs represent God in both pop-Islamic songs and dangdut-Islamic

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songs. Moreover, this research also has a similar purpose to the second previous

study that is to find the tenor of discourse as interpersonal (relational meaning). In

this research, the interpersonal meaning that will be revealed is the relationship

between God and human beings.

1.5. Writing Outline

Chapter I consists of introduction of the research. It introduces five sub-

chapters namely background of the study, research questions, purposes of the study,

previous studies, and writing outline. Through this chapter, the reader will know what

will be discussed in the research.

Chapter II contains review of literature. In the review of literature the writer

will discuss the theoretical framework. This chapter will lead the reader to know

certain theories used in this research.

Chapter III presents research method. The writer explains four sub-chapters

such as the type of the research, data (including population, sample, technique and

sampling technique), method of collecting data and method of analyzing data. By

seeing this chapter, the reader will know what data are used. Besides, the writer will

also know what kinds of method the writer uses.

Chapter IV discusses data analysis. In this chapter, the writer tries to analyze

data by using the theories and methods mentioned in previous chapters. Furthermore,

the writer will answer the research questions by revealing the result of the research.

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Chapter V comprises conclusion and suggestion. In this chapter, the writer

tries to infer the conducted research. Through this chapter, the reader will know

whether the purposes of the research can be achieved or not. Then, the writer also

makes suggestion to the readers who want to conduct similar research.

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CHAPTER II

REVIEW OF LITERATURE

To conduct this research, the writer uses some books of functional grammar from

M. A. K. Halliday, Linda Gerot and Peter Wignell, and Geoff Thompson. The writer

also uses a discourse book from J. R. Martin and D. Rose. Those books concern with

Transitivity System, Metafunctions, and Mood System that are related to the topic of

this research.

2.1.Functional Grammar

According to Gerot and Wignell (1994: 6), functional grammar is a kind of

grammar that reveals the use of language as resource for making meaning. Different

from traditional and formal grammar, functional grammar is more concerned with the

meanings of a language rather than those structures. Through functional grammar, we

can know how language is used, and its effect. In functional grammar, a clause is the

most important unit rather than sentences. Every element of the clause is identified

based on its function. Thus, functional grammar does not give a label in terms of

word class or other syntax devices.

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2.2.Metafunctions

There are three kinds of meanings that are called metafunctions. Metafunctions

are used to explore meaning. Metafunctions are divided into three types. They are

experiental or ideational, interpersonal or relational, and textual. Each type of

meaning has its function.

Gerot and Wignell (1994:12) said that experiental or ideational meaning is used to

represent our experience of the world. It includes what is going on, what participant is

evolved, and how circumstance is used. Ideational meaning also shows events and the

entities in whole clause. Ideational meaning is construed by using transitivity

(participants, processes, and circumstances). Another type of metafunction is called

relational meaning. Relational meaning is used to describe speaker’s attitudes and

judgments. It is realized by using mood and modality. Then, textual meaning is used

to describe the language related with its environment. It deals with context and co-

text. Textual meaning is realized by using theme and cohesion. (Thompson, 2004:27-

29)

2.3. Transitivity System

Transitivity system is a grammatical tool that functions to construe ideational

meaning in whole clause. It consists of three elements which are participant, process,

and circumstance. Each element has its function. Participant helps to construe who

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are evolved in a clause. Process helps to construe what it is about. Then, circumstance

is used to construe how it happens. (Halliday, 2004:170-175)

According to Gerot and Wignell (1994:52-72), process is realized by verb. It is

subdivided into seven types of processes. Below are the seven types summarized

from Linda Gerot and Peter Wignell’s book entitled Making Sense of Functional

Grammar.

1.) Material Processes

Gerot and Wignell (1994: 55) stated that material processes are a kind of

processes that expresses everything related to doing action. In material processes, an

entity that does an action is called actor, while an entity to which the process is done

is called goal.

Material processes have two types which are creative and dispositive. Creative

type provides a goal that is brought by process. Furthermore, dispositive type doesn’t

provide a goal, it just tells what happens and what action is. Material processes also

have two forms, namely active voice and passive voice.

Besides, there is a participant that may be incumbent on material processes,

namely range. Range is the element that determines the field of the process. In a

clause, the range occurs with actor, but it is without goal. Material processes with

Goal can take resultative attributes. On the contrary, material processes with Range

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cannot take it. Moreover in material processes with Goal, the Goal can be subtituted

into an appropriate pronoun that will not change the meaning.

2.) Mental Processes

Mental Processes are a kind of processes related with emotion (feeling),

intellectual (thinking), and sensory (perceiving). Mental processes are divided into

three types, namely affective or reactive (feeling), cognitive (thinking), and

perceptive (perceiving through the five senses). These proccess are different from

material processes which focus on physical, moving, and action. In the material

process, the activities are visible, but the activities in mental processes are invisible.

Then, there are certain participants that have roles in mental processes. They are

Senser and Phenomenon. Senser is an entity that can feel, think, or perceive. The

entity is mostly conscious being, but the conscious being can be attributed to non-

sensate beings. For example, That toaster doesn’t like me, I swear. Here, the senser is

a non-sensate being. Furthermore, the phenomenon is an entity that is sensed: felt,

thought or perceived.

3.) Behavioural Processes

Behavioural processes are a kind of processes related with behavioural things,

such as breathing, dreaming, snoring, smiling, hiccuping, looking, watching,

listening, and pondering. There is a participant that must be in the processes. It is

called Behaver. Since non-sensate beings cannot behave, the Behaver must be a

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conscious being. For the example, “She lives in the fast line”. Here, the senser is

‘she’. The process is ‘lives’. Then, ‘in the fast line’ is a circumstantial place.

4.) Verbal Processes

Verbal processes are a kind of processes related with lingual and signal. The

processes of saying function to reporting, such as remind, deny, and so on. Besides,

there is another function of the processes of saying that is to quoting (and reporting),

such as say, tell, and so on.

Besides, there are three other participants that belong to verbal processes. They

are receiver, target, and range or verbiage. Their definitions will be explained below.

a. Receiver : the entity that becomes the addressee of verbalisation

b. Target : the entity that acts upon verbally

c. Range or Verbiage : the term for the verbalisation

5.) Relational Processes

Relational processes are a kind of processes related with being and having.

According to Gerot and Wignell (1994:67), relational processes are divided into two

kinds of relational processes. They are called Identifying Processes and Attributive

Processes. Identifying processes are used to define an identity, while attributive

processes are used to define a quality.

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In attributive processes, there are two participant roles involved. They are Carrier

and Attribute. In identifying processes, there are also two participant roles, namely

Token and Value.

6.) Existential Processes

Existential processes are realized by verbs of existing. The existential processes

represent something that exists. Existential processes have generally a verb be.

Besides, there are other verbs that express an existence, such as exist and arise. These

verbs of existing are followed by a participant role called Existent.

7.) Meteorological Processes

Meteorological processes are a process related with weather (Gerot and Wignell,

1994: 73). For instance, “It is hot”, “It is windy”, and It’s five o’clock.

The other elements is called participant. Participant is related with actor of a

clause. It can be real or abstract things. It represents people or things that are evolved

in a clause. The last element is circumstance. Circumstance gives information about

background of the processes. (Geoff Thompson, 2004:104)

According to Halliday (1994: 151), there are nine main types of circumstantial

elements. First is called ‘location’. ‘Location’ is related with place and time. Second,

‘extent’ is related with duration and distance. Then, ‘manner’ is a type of

circumstantial elements that answers question ‘how’. ‘Cause’ is related with reason,

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purpose, and behalf. Fifth is a ‘contingency’ which is related with possibility. Sixth is

‘accompaniment’. ‘Accompaniment’ is related with something that accompanies

process. ‘Role’ is a type of circumstantial elements which answer question ‘what as’,

while ‘matter’ answer question ‘what about’. The last is ‘angle’ which is related with

the point of view.

2.4. Mood System

Gerot and Wignell (1994: 22) said that relational or interpersonal meanings are

realized through a grammatical tool, namely mood system. Mood system views a

clause as an exchange. It means that a clause contains of messages derived from

participants that are exchanged. In uttering a language, there are two participants

involved, namely a speaker or writer and an addressee (listener and reader).

A speaker chooses a particular speech role for her or himself and simultaneously

assigns a speech role to the addressee. In other word, a speaker determines her or his

speech role according to her or his need to the addressee. In making an interaction,

there are two types of commodity that are exchanged. They are either goods and

services or information.

According to Gerot and Wignell (1994: 22), if a speaker gives us some

information, he or she is thereby inviting us to receive the information. If he or she

offers us some goods or some services, it means that he or she is inviting us to receive

those goods or services. Besides, if he or she requests information from us, you are

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inherently invited to give the information. If he or she requests some goods or

services from us, it means that we are invited to give those goods or services. These

explanations will be presented in a table below.

Table 2. 1 Speech functions and responses

Role Commodity Initiation ExpectedResponse

DiscretionaryAlternative

Give goods andservices

Offer acceptance rejectiondemand command undertaking refusalGive

InformationStatement acknowledgement contradiction

demand Question Answer disclaimer

Mood system is divided into two elements. They are mood element and residue

element.

2.4.1. Mood Element

Mood element comprises two parts, namely Subject and Finite. The Subject is

realized by a nominal group, while the Finite is realized by a verbal group. As the

example, “Michael did” consists of subject and finite. The subject is person’s name

that is Michael, while the finite is did.

Gerot and Wignell (1994: 27) said that the finite element has specific function to

locate exchange referring to the Speaker and make a proposition that can be argued

about. The function can be done through primary tense, modality, and polarity. The

primary tense indicates the moment of speaking whether it is past, present, or future.

The modality expresses the Speaker’s judgement of the probabilities of the

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obligations involved in what the Speaker’s saying. Then, the polarity tells positivity

and negativity.

Table 2. 2 Finite verbal operators

Temporal operatorsPast Present Future

Positivedid, was, had,used to

does, is, have will, shall, would, should

Negativedidn't, wasn't,hadn't, didn't +used to

doesn't, isn't,haven't

won't, shan't, wouldn't,shouldn't

Modal operatorsLow Median High

Positivecan, may, could,might, (dare)

will, would, should,is/was to

must, ought to, need,has/had to

Negativeneedn't, doesn't/didn't+ need to, have to

won't, wouldn't,shouldn't, (isn't/wasn'tto)

mustn't, oughtn't to,can't, couldn't,(mayn't, mightn't,hasn't/hadn't to)

Halliday (2004: 116)

Sometimes the Finite element and the lexical verb are fused. This occurs when the

verb is in:

a. simple past or simple present (tense): ate = did eat; eats = does eat

b. active voice: they eat pizza = they do eat pizza vs pizza is eaten

c. positive polarity: they eat = they do eat vs they don’t eat

d. neutral contrast: go away = do go away

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2.4.2. Residue Element

Another element in mood system is known as residue. Residue element consists

of Predicator, Complement(s), and Adjunct(s).

1.) Predicator

According to Gerot and Wignell (1994: 31), predicator is the verb part of the

clause which indicates what is doing, happening or being. In the above example, the

predicator is ‘build’. Halliday (2004: 122) stated that there are four functions of

predicator. (i) It determines time reference other than reference to the time of the

speech event. (ii) It determines various other aspects and phases like seeming, trying,

hoping. (iii) It determines the active and the passive voice. (iv) It determines the

process including action, event, mental process, relation that is predicated to the

Subject.

In addition, Halliday (2004: 122) asserted that there are certain two verbs: be and

have which construct the simple past and simple present only by Finite. These two

verbs do not have a fusion of Finite and Predicator as generally.

2.) Complement

As Halliday (2004: 122) said, a complement is an element within the Residue that

has the potential to be Subject but is not. It is typically realized by nominal group.

Then, Gerot and Wignell (1994: 32) explained that a complement is an element which

answers three questions: ‘is/had what’, ‘to whom’, ‘did to’.

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3.) Adjuncts

According to Gerot and Wignell (1994: 34), there are four types of adjuncts,

namely circumstantial adjuncts, conjuctive adjuncts, comment adjuncts, and mood

adjuncts. The mood adjuncts are typically realized by adverbial group and

prepositional phrase.

a. Circumstantial Adjuncts

This type of adjuncts answer the questions ‘how’, ‘when’, ‘where’, and ‘by

whom’.

b. Conjuctive Adjuncts

Conjuctive adjuncts are expressed by conjuctions such as ‘then’, ‘for instance’,

‘anyway’, ‘moreover’, and so on. These adjuncts function to link one clause to

another. These adjuncts fall outside of the analysis of mood.

c. Comment Adjuncts

Similar to the conjuctive adjuncts, comment adjuncts fall outside of analysis of

mood. The comment adjuncts function to express relational meaning that is the

speaker’s comment on what he or she is saying. The examples of comment adjuncts

are ‘frankly’, ‘unfortunately’, ’to my surprise’, and so on.

d. Mood Adjuncts

Mood adjuncts also express relational meaning. Besides, the mood adjuncts

belong to mood structure, more particularly to the mood element. According to Gerot

33

and Wignell (1994: 36), there are many particular items functioning as mood

adjuncts. These items will be shown by a table, as follows:

Table 2. 3 Kind of Mood Adjuncts

Adjuncts of polarity and modalityKinds Examples

Polarity not, yes, no, soProbability probably, possibly, certainly, perhaps, maybeUsuality usually, sometimes, always, never, ever, seldom, rarelyReadiness willingly, readily, gladly, certainly, easilyObligation definitely, absolutely, possibly, at all cost, by all means

Adjuncts of temporalityKinds Examples

Time yet, still, already, once, soon, justTypically occasionally, generally, regularly, mainly

Adjuncts of moodKinds Examples

Obviousness of course, surely, obviously, clearly

Intensity just, simply, merely, only, even, actually, really

Degree quite, almost, nearly, scarcely, hardly, hardly, absolutely,totally,

2.5. Mood Types

According to Gerot and Wignell (1994: 38-42), there are two types of mood.

They are indicative mood and imperative mood. The explanation will be shown, as

follows:

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2.5.1. Indicative Mood

Indicative mood concern the order of the Subject and Finite which realizes

Declarative and Interrogative. In declarative, the order is initiated by the Subject.

Then, it is followed by the Finite. Declarative functions to make a statement.

Inversely, the order of interrogative is initiated by the Finite and is followed

automatically by the Subject. Interrogative functions to ask question or information.

2.5.2. Imperative Mood

Imperative mood may consist of Subject + Finite, Subject only, Finite only, or

may have no mood element. However, this type of mood always consists of a

Predicator. The imperative expresses command or request.

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CHAPTER III

RESEARCH METHOD

In this chapter, the writer would like to explain type of the research. The writer

also explains data (including population, sample, technique and sampling technique)

used in the research. Furthermore, the writer gives information about methods that the

writer used to collect and analyze the data.

3.1 Type of the Research

In this opportunity, the writer conducts descriptive qualitative research, since the

writer describes the data factually and systematically. The writer analyzes data by

using grammatical tools, namely transitivity and mood system. The writer identifies

the data to provide information in revealing ideational and relational meaning.

Besides, the writer explains her ideas concerning the analysis in order to achieve her

purposes of conducting the research.

3.2 Data, Population, Sample, Sampling Technique

Since the writer observes both ideational and relational meaning in pop-Islamic

songs and dangdut-Islamic songs, it is obvious that data used by the writer are song

lyrics from both genres of Islamic songs. The songs lyrics used are lyrics that relate to

God. For pop-Islamic songs, the writer chooses fifteen Opick’s song lyrics. Besides,

the writer also chooses fifteen Rhoma Irama’s song lyrics for data of dangdut Islamic

36

songs. The reasons why the writer chooses song lyrics from Opick’s and Rhoma

Irama’s songs are that both Opick and Rhoma Irama’s are known as famous singers

with their best songs. Opick is well known as a pop-Islamic singer that has many

beautiful and touched songs. In addition, the writer takes her interest in Rhoma Irama

because Rhoma Irama is appointed as the king of dangdut that also releases some

famous Islamic songs.

Furthermore, the population of this research is eight of Opick’s songs and eight of

Rhoma Irama’s songs. All these lyrics of the songs will be presented later in the

appendix of this research. In chapter IV, the writer does not explain all lyrics of the

population. The writer only picks certain numbers of song lyrics as the samples of

this research. From Opick’s songs, the writer only uses fifteen lyrics. Then, the writer

also chooses fifteen lyrics of eight Rhoma Irama’s songs for data of dangdut-Islamic

songs. The writer applies purposive sampling technique in determining the samples.

The samples are lyrics which represent God and reveal relational meanings between

God and human beings contained in both genres of songs: pop-Islamic and dangdut-

Islamic.

3.3 Method of Collecting Data

According to Sudaryanto’s book entitled Metode dan Aneka Teknik Analisis

Bahasa, there are four methods to collect data. They are participant observation, non

participant observation, note taking, and recording methods. In collecting the data, the

writer uses observation method because the research is conducted by examining the

37

language itself. Observation method is divided into some techniques. One of the

tecniques used by the writer is non participant observation. The writer uses that

technique because the writer does not involve in uttering the language in Opick’s and

Rhoma Irama’s song lyrics. The writer plays a role as observer of the language use in

the song lyrics. In collecting the data, the writer uses some procedures, namely

downloading, note taking, and transcribing. (Sudaryanto, 1993: 131-134)

3.4 Method of Analysis Data

As Sudaryanto (1993) asserted, method of analysis data is divided into two types,

namely distributional method and identity method. In conducting this research, the

writer uses Distributional and Identity Method to analyze the data. In distributional

method, Bagi Unsur Langsung, Substitution, and Expansion are techniques used by

the writer. The first technique is Bagi Unsur Langsung. According to this technique,

the writer divides units of analysis in order to categorize it into some elements in

transitivity system and mood system. Second, substitution technique is used by the

writer in order to show the degree of class similarity between substituted element and

substitute element. This technique is applied by substituting element or word in the

chosen song lyrics into another element or word. Third, the writer uses expansion

technique to continue the analysis. Expansion technique is used in order to determine

semantic aspect in unit of analysis. By using this technique, the writer can expand in

two ways, either in the beginning or in the end of linguistic units of the data.

38

Furthermore, the writer also uses identity method. Technique that is used to apply

this method is referential because this technique has determinant. The determinant

can be word classes (verbs, adjectives, nouns, etc), clause, function words, etc. So,

the writer examines the reference of particular linguistic units. By knowing the

reference, the writer gets description of noun which refers to something or of verb

which refers to what is going on.

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CHAPTER IV

DATA ANALYSIS

As introduced before in the background of the study, the study purposes to

reconstruct the way an author represents God and the relationship between God and

God’s creatures. The purposes are achieved through identifying ideational and

relational meanings between pop-Islamic song and dangdut-Islamic song. The

ideational meanings are identified using a grammatical tool, namely transitivity

system, while the relational meanings are identified using mood system.

4.1. Representation of God in Pop-Islamic Songs

In this research, especially in the pop-Islamic songs, the writer analyzed data

taken from fifteen lyrics of eight songs of Opick. After analyzing them using

transitivity system, the writer found certain kinds of ideational meaning representing

the existence of God. Therefore, the writer grouped them into seven groups of same

ideational meanings. Table of ideational meanings in pop-Islamic song will be shown

later through table 4.1 in the appendix.

1. God is an actor who can fulfill what human beings need

In the song, there are seven clauses that have same ideational meanings of ‘God is

an actor who can fulfill what human beings need’. It can be seen through these

clauses:

40

(1) Tuhan lindungilah kami semua dari bisikan setan yang menggodaGod protects all of us from temptation of evil’s whisper

(2) (Tuhan) hapus segala duka dan sepiku(God) erases my grief and loneliness

(3) (Tuhan) terangi hati yang merapuh(God) gives a light to the brittle heart

These clauses contain some verbs like lindungilah, hapus, and terangi that are

classified to material processes. Actually some verbs have metaphoric meanings. In

transitivity analysis, clause (1) through (3) belongs to material processes because

each clause has a process of doing which is realized by verb.

As we can see, clause (1) through (3) has similar subject who is God although

some subjects are implied in clause (2) and (3). Therefore, to make analysis easier,

the writer puts brackets in the implied subjects. Since these clauses belong to material

processes, it means that the subject acts as an actor. Through transitivity analysis,

God as an actor does something to God’s creatures like lindungilah, hapus, and

terangi.

In clause (1), the actor is God. The process of material is realized by a verb

lindungilah. There is also recipient realized by a phrase kami semua. Kami semua

represents God’s creatures including human beings. Then, a circumstantial matter is

realized by a phrase dari bisikan setan yang menggoda. This kind of circumstance

tells from what matter God protects His creatures.

Clause (2) has a verb that is hapus. It is true that hapus is a process of doing, but

the goal is segala duka dan sepi. As we know, we cannot erase either grief or

loneliness literally. Therefore, the verb hapus has metaphoric meaning. Clause (2)

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applies metaphor “grief and loneliness are stain”. In the clause, the author of the song

thinks that grief and loneliness are like stain which can be erased only by God as his

creator.

In clause (3), the process done by the actor is realized by a verb terangi. The goal

of the process is hati yang merapuh that belongs to invisible subject. It is impossible

that we can light invisible subject like heart. Therefore, this clause applies metaphor

“heart is a visible subject”. It means that the author of the song considers heart as

visible subject, so that God can light it.

Based on the transitivity analysis, the writer found that clause (1) through (3)

explained processes done by God. These kinds of process are done by God in order to

fulfill what human beings as His creatures need. Literally, the above verbs belong to

material processes, but actually some kinds of verb have metaphoric meaning that has

been described above.

2. God is the Forgiver

This kind of ideational meaning can be seen from these clauses:

(4) (Tuhan) ampunkanlah aku(God) forgive me

(5) Setitik ampunanMu akan menghapuskan dosa kamiA bit of Your forgiveness will erase our sins

Clause (4) has a verb of sensing that is ampunkanlah, so this clause belongs to

mental processes. This clause has the implied subject that is God as a senser. In

clause (4), the process of sensing is realized by a verb ampunkanlah (to forgive). The

42

one for whom the process are provided is aku. Aku is a representation of God’s

creatures.

Besides, clause (5) has different kind of process. This clause is classified as

material process, since there is a process of doing that appears. It is realized by a verb

akan menghapuskan. Clause (5) has a bit different actor that is realized by a phrase

setitik ampunanMu, but the phrase is still a part of God representation. Then, the goal

of the process is dosa kami. This clause also has metaphoric meaning. It applies

metaphor “sin is a stain”. As we know, sin cannot be erased literally. Through this

clause, the author of the song thinks that sin is like a stain that can be erased by God.

According to the analysis of this kind of ideational meaning, there are some

words referring to forgiveness. In clause (4), the verb ampunkanlah means that God

can forgive His creatures. Then, clause (5) reveals that forgiveness from God can

erase our sins. Therefore, these clauses can be construed that God is the Forgiver.

3. God has characters that are different from human beings

Below are clauses which have ideational meaning of God has characters that are

different from human being.

(6) Hanya Allah Maha PengasihAllah is the only Most Gracious

(7) Engkau Allah yang Maha MendengarYou, Allah is the Hearing

(8) Sesungguhnya Engkau sang Maha Pengampun DosaYou are indeed the Forgiver

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This ideational meaning is realized by relational identifying processes. In clause

(6), the token is God that is represented by the word Allah. Then, the value is Maha

Pengasih. Here, a circumstantial quality appears that is realized by words hanya and

Maha. Hanya means God is the only one who has gracious character. Moreover,

Maha shows high quality of God.

In clause (7), the token must be Engkau Allah, while the value is yang Maha

Mendengar. The value tells one of characters of God. Here, there is also

circumstantial quality realized by a word Maha. Maha is used to define quality of the

character of God.

Then, clause (8) has a token realized by a word Engkau. The value is sang Maha

Pengampun Dosa. In this clause, a circumstantial quality appears. It is realized by a

word sesungguhnya. Sesungguhnya tells how God is defined by His certain character

that is different from human beings. Beside that, the word Maha also exists. It reveals

how great the character of God is.

As described before, clause (6) through (8) reveals same ideational meaning God

has characters that are different from human being. In transitivity analysis, these

clauses belong to relational identifying process. This kind of process is used to define

someone or something. The token of these clauses, of course, is God, while the values

are God’s characters. Moreover, these clauses contain a word hanya which means to

emphasize that God is the one who has some characters shown in these clause. Beside

that, the author of the song defines God’s characters by adding a word Maha. Maha is

used as a determiner. Maha reveals that God has the greatest characters compared to

44

everything in this world. The greatest characters of God are well known as Asmahul

Husna. Therefore, it can be inferred that clause (6) through (8) tells ideational

meaning that God has characters that are different from human being.

4. God’s blessing is the best of all

Through transitivity analysis, the writer found that a clause could be construed as

God’s blessing is the best of all. Below is the clause.

(9) Setitik rahmat yang Kau beri lebih berarti dari segalanyaA bit of Your blessing is more meaningful than everything

Clause (10) belongs to relational attributive process. The carrier is setitik rahmat

yang Kau beri, while the attributive is implied. Therefore, a word menjadi (become)

can be added as an attributive. Then, the attribute is lebih berarti. In this clause, the

writer found that there is a circumstantial comparison which is represented by a

phrase dari segalanya. This kind of circumstance tells us that God’s blessing cannot

be compared by everything. It is also proved by existence of comparative degree

lebih which is used to compare two things. In this case, the clause compares God’s

blessing and everything. As mentioned before, clause (10) belongs to relational

attributive process that functions to assign quality to something (Gerot and Wignell,

1994: 67). Therefore, it can be concluded that this clause assigns that God’s blessing

is the best of all because it cannot be compared by everything.

5. God is the Most Powerful

The ideational meaning of God is the Most Powerful can be seen through these

clauses:

45

(10) Semesta bersujud padaMuThe entire world bow down to You

(11) Semua bertasbih akan kebesaranMuAll of God’s creatures celebrate the praises of Allah

These clauses consist of two types of processes. They are material and verbal

processes. The material process is realized through clause (10), while the verbal

process is realized through clause (11).

Material process is realized by clause (10). Clause (10) has an actor realized by a

word semesta. This clause has a process of doing that is bersujud. The goal of the

process is directed for God realized by a phrase padaMu.

Then, clause (11) belongs to verbal process. Clause (11) has a verb bertasbih that

is for quoting. The sayer is semua that represents God’s creatures, while the verbiage

refers to God. This clause implies that all God’s creatures symbolically signal God

that they love God.

According to the above analysis, the writer found that clause (10) and clause (11)

has a similarity. The similarity is that God has a role as a goal to which the processes

are extended. From the analysis, each creature does an action and signals God in

order to get what he needs. As we know, God is more superior than God’s creatures

including human beings. Because of that, God has power to make His creatures do

anything to please Him. By pleasing God, of course, His creatures will get a reward.

Therefore, the writer inferred that clause (10) and clause (11) reveals ideational

meaning that God is the Most Powerful.

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6. Human beings depend on God

Below are clauses which have ideational meaning human beings depend on God.

(12) Aku hidup denganMuI live with You

(13) Aku mimpi seluruh hidupku tentangMuI dream of You all my life

(14) Tak mungkin aku bisa mencintaiMu seperti keMaha-anMuImpossibly, I could love You as perfect as Your Greatness

These three clauses have different types of process. There are behavioural and

mental processes. Behavioural processses appear in clause (12) and clause (13). Then,

mental process appears in clause (14).

As mentioned above, behavioural processes appear in clause (12) and clause (13).

These clauses have aku as behaver. Then, the processes are hidup and mimpi. Clause

(12) has a circumstantial accompaniment which is realized by a word denganMu.

DenganMu tells with whom aku has a process of behaviour, like living. Moreover, a

circumstantial matter also appears in clause (13) which is realized by a word

tentangMu. This circumstance shows that God is the one that aku dreams of.

Beside behavioural processes, mental process also appears. The process is

realized in clause (14). In clause (14), it has aku as a senser. The process of sensing is

jatuh cinta. Moreover, this clause has a circumstance. The process is mencintai. In

this clause, God has a role as a phenomenon. Beside that, the writer also found that

there are two different types of circumstance. First, sempurna is classified as a

circumstantial quality. It tells how aku is supposed to love God. Second, it is a

circumstantial comparison that appears in this clause. It is realized by a phrase seperti

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keMaha-anMu. This circumstance shows like what aku loves God. Furthermore, there

is also improbability aspect which is realized by a word tak mungkin.

According to the transitivity analysis, we can see that these five clauses have God

as a circumstance, although the types of processes are different. There are four types

of circumstances: accompaniment, matter, quality, and comparison. The

accompaniment implies that God accompanies God’s creatures in every process. The

matter tells about what God’s creatures behave. Beside that, the quality tells how

God’s creatures are supposed to love God. Furthermore, the comparison reveals like

what God’s creatures love God. Because of that, the writer can construes that these

clauses reveal that human beings depend on God.

7. Human beings thank God

There is a clause which tells that human beings thank God. Below is the clause.

(15) Semua bersyukur nikmatMuAll of Your creatures are grateful of Your Favour

Clause (15) belongs to mental process. Here, the senser is semua which represents

all God’s creatures including human beings. Bersyukur is the process of sensing.

Then, the phenomenon is nikmatMu which is sensed. In this clause, God becomes a

part of the phenomenon. From transitivity analysis, this clause implies that human

beings thank for what God has given to them. Therefore, the writer classified this

clause into the ideational meaning that human beings thank God.

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4.2. Representation of God in Dangdut-Islamic Songs

In this case, the writer used data taken from fifteen lyrics of eight songs of Rhoma

Irama, a king of dangdut in Indonesia. This chapter will discuss the result of

ideational meaning found in the clause by using transitivity system. After the writer

analyzed the data using transitivity system, the writer tried to group clauses that had

same ideational meaning. As the result, there were six groups of ideational meaning

representing God. The groups of ideational meaning are shown later through table 4.2

in the appendix.

1. God gives everything to His creatures

In dangdut-Islamic songs of Rhoma Irama, there are two clauses which have a

meaning to show that God gives everything to His creatures. Below are the clauses.

(1) Nikmat Allah akan ditambahkan bagi orang yang pandai bersyukurAllah’s favour will be raised for those who are grateful

(2) Engkau melimpahkan semua rasa kasih sayangMuYou give all Your affections

Clause (1) and (2) are classified as material processes, due to the existence of

doing process. In clause (1), the doing process is realized by a phrase akan

ditambahkan. The actor is Allah, while the goal to which the process is extended is

nikmat Allah. Here, God is a part of the goal. Then, there is also recipient to whom

goods are given by Allah. The recipient is realized by bagi orang yang pandai

bersyukur.

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Then, clause (2) has a process of doing melimpahkan. The actor is Engkau that

represents God, while the goal is semua rasa kasih sayangMu. Here, suffix –Mu is a

representation of God.

As explained above, these clauses belong to material processes. It means that

these clauses show us what kinds of action done by God. God is the only actor.

Beside that, God is a part of the goal. Then, the doing processes menambahkan and

melimpahkan have a meaning of giving. Therefore, through this clause, the writer can

construe that these clauses reveal that God gives all what He has to His creatures,

including human beings.

2. God is the Most Powerful

(3) Sempurna Tuhan menciptakan dirimu yang tiada celaGod’s perfection creates you without flaw

(4) Bagi orang yang kufur adzab Allah sangat pedihFor those who do not believe, Allah’s torments are very grievous

There are two types of process appear in clause (3) and clause (4). They are

material and relational attributive processes. Material process is realized in clause (3).

Then, clause (4) belongs to relational attributive. Below are the explanations of their

analysis.

Clause (3) belongs to material process. The actor is a representation of God that is

realized by a phrase sempurna Tuhan. Here, God as an actor does an action that is

categorized as a doing process. The action is menciptakan. Then, the goal in clause

(3) is dirimu. It refers to God’s creatures. This clause also has a circumstance namely

50

circumstantial quality yang tiada cela. The circumstance tells how God creates God’s

creatures.

Then, there is a relational attributive process realized in clause (4). In clause (4),

adzab Allah is categorized as a carrier. Then, the attribute is an adjective phrase

realized by sangat pedih. In addition, a circumstantial behalf appears in this clause. It

is realized by a phrase bagi orang yang kufur. It reveals for whom God’s torment is

addressed.

According to the analysis above, we can see that God has role as participant and

circumstance. As the participant, God is represented positively. For instance, God is

represented by a phrase sempurna Tuhan in clause (3). Sempurna Tuhan reveals that

God has a great thing. On the contrary, God is also represented negatively in clause

(4) and (5). Here, God has bad things, such as torment and the test that are released to

His creatures for some certain reasons. Therefore, the writer concludes that these

clauses show us that God is the Most Powerful.

3. God has different character from human beings

There is a clause which has ideational meaning that God has different character

from human beings. This ideational meaning is construed through relational

identifying process. The clause will be shown below.

(5) Engkau Maha MemutuskanYou are the Able

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The relational identifying process identifies who God is which is realized in

clause (5). The token is definitely God. God is realized by a certain word like

Engkau. Then, the value is Maha Memutuskan. This value reveals certain character of

God. Here, Maha is a term used to distinguish between character of God and

character of human beings. Maha means the Greatest. Because of that, the writer can

infer that these clauses show different character of God from human beings.

4. Human beings are under obligation to take over the Word of God

This ideational meaning can be construed through these clauses. These clauses

can be seen below.

(6) Firman Tuhan sumber keselamatanThe Word of God is the source of salvation

(7) (Kau) jangan mempermainkan firman Tuhan(You) do not play on the Word of God

There are two types of processes realized in above clauses. The processes are

relational attributive and material. Clause (6) belongs to relational attributive process.

Then, clause (7) is classified as material processes. The analysis will be explained

below.

Clause (6) is an example of relational attributive process. It is called relational

attributive process because the process assigns a quality. Here, the carrier is firman

Tuhan, while the attribute is sumber keselamatan. This clause assigns a quality of the

Word of God. The Word of God is salvation source for human beings.

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Furthermore, clause (7) has a process of doing realized in a word jangan

mempermainkan. In this clause, a word in brackets means implied subject. The

implied subject has a role as an actor. Then, firman Tuhan is the range. This clause

tells a kind of action which is not allowed to do to the Word of God.

As explained before, the main point is the Word of God. Through relational

attributive process, the Word of God is determined as salvation source for human

beings. Then, through material process, it is shown what action is not allowed to do to

the Word of God. Because of that, the writer construed that these clauses reveal that

taking over the Word of God is a must for human beings.

5. God is the One

This ideational meaning is realized through material, mental, existential, and

relational identifying processes. These four processes can be seen in six clauses

below.

(8) Kita menyembah hanya padaNyaWe only worship Him (God)

(9) Kau jangan menyekutukanNyaYou do not betray Him (God)

(10) Kamimemohon pertolongan hanya padaMu oh TuhanWe only seek for a help to You, oh God

(11) Tiada satupun yang menyerupaiNyaThere is no one like Him

(12) Tuhan tidak beranakGod does not beget

(13) Tuhan tidak diperanakkanGod is not begotten

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The material processes are realized in clause (8) and clause (9). Beside that, there

is only one example of mental process in clause (10). Clause (11) is classified as

existential process. Then, clause (12) and (13) are classified as relational identifying

processes. Below are the explanations of their analysis.

First, the writer found that clause (8) has an actor kita which represents human

beings, while the goal is realized by a phrase padaNya. Here, suffix –Nya represents

God, so that God is a part of the goal. Then, the processes done by the actor is

menyembah.

Clause (9) also belongs to material process. The actor is kau that represents

human beings. Then, the process appearing in the clause is jangan menyekutukan.

Jangan shows prohibition against the process of menyekutukan. This clause has a

goal which refers to God. The goal is realized by a suffix –Nya.

Second, the mental process is realized in clause (10). The senser is kami as a

representation of human beings. Kami has a process memohon which is categorized as

cognitive type in mental process. Then, the phenomenon is pertolongan. Moreover,

there is a circumstantial behalf in this clause. It is realized by a phrase hanya padaMu

Tuhan. The circumstance behalf is used to show for whom the process is directed.

Third, there is also existential process that appears in clause (11). The existential

is tiada, while the existent is satupun. Moreover, a circumstantial comparison is

found in this clause. It is realized by yang menyerupaiNya. Here, suffix –Nya

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represents God. Therefore, this clause reveals that there is no one who can resemble

God. It means that God is the One.

Fourth, clause (12) and (13) are classified as relational identifying processes. Both

clauses have same token Tuhan which definitely represents God. Then, the values are

tidak beranak and tidak diperanakkan. These kinds of value imply that God is the

One.

Based on the analysis above, it is explained that God is the One. There are some

considerations in order to construe the ideational meaning of the above clauses. First,

a word hanya mostly appear in these clauses. Hanya is used to assign that God is the

only one. Second, when it is asserted to not betray God, it means that there is only

one God. Third, clause (11) as an example of existential process reveals that there is

no one who can resemble God. Fourth, there are certain verbs such as does not beget

and not begetten that appear in clause (12) and (13). These verbs reveal that God is

the one. As we know, The One is an example of asmahul husna. Because of that, the

writer made a conclusion that these processes above have ideational meaning that

God is the One.

6. Human beings pray to God

This ideational meaning can be construed through these clauses:

(14) Tuhan kabulkan doa kamiGod, listen to our prayer

(15) Ku tadahkan kedua tanganku ke langit tinggiI raise my hand sup to the Heavens

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This ideational meaning is realized through two types of processes; mental and

material. Mental process appears in clause (14). Then, material process is realized in

clause (15). The analysis will be further explained below.

Clause (14) has a process of sensing kabulkanlah. The senser is realized by a

phrase doa kami. Kami refers to human beings. The phenomenon that is sensed is

God which is realized by a word Tuhan. Because there is a word doa that appears in

this clause, it means that human beings pray to God.

Furthermore, the material process appears in clause (15). In this clause, the actor

is ku which represents human beings. Human beings do a process realized by a verb

tadahkan. Then the goal is kedua tanganku. There is also a circumstantial place in

this clause. It is realized by a phrase ke langit tinggi which refers God’s place. As we

know, we have a gesture of raising our hands when we are praying to God. Therefore,

this clause reveals that human beings pray to God.

As explained above, the participant of clause (14) and clause (15) is human

beings. Human beings have role as either senser or actor. Through mental process,

what is sensed by human beings is God. Based on processes of sensing, it can be

inferred that human beings pray to God. Moreover, through material process, there is

a process of raising hands indicating that human beings pray to God.

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4.3. Relational Meaning in Pop-Islamic Songs

The relational meaning is analyzed using a grammatical tool namely mood

system. The mood system considers a clause as an exchange. The mood system is

divided into two elements. First element is mood. Second element is residue. As

mentioned before, data of analysis are taken from fifteen lyrics of eight songs of

Opick. From the analysis of mood system, the writer found certain kinds of relational

meaning revealing relationships between God and human beings. Since there were

some clauses that had same kinds of relational meaning, the writer grouped them into

nine kinds of same relational meaning. The writer also made a table of the groups of

relational meaning in pop-Islamic songs. The table will be shown later through table

4.3 in the appendix.

1. Human beings demand something to God

This kind of relational meaning is encoded by six clauses of Opick’s songs. Here

are examples of these clauses.

(1) Tuhan lindungilah kami semua dari bisikan setan yang menggodaGod protects all of us from temptation of evil’s whisper

(2) (Tuhan) hapus segala duka dan sepiku(God) erases my grief and loneliness

(3) (Tuhan) terangi hati yang merapuh(God) gives a light to the brittle heart

Clause (1) encodes relational meaning that human beings demand something to

God. This clause belongs to imperative form although it has a subject. The imperative

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form of this clause functions to request someone to do something. Therefore, this

clause shows that human beings demand a service of protecting from temptation of

evil’s whisper. Beside that, the author of the song uses a subject Tuhan in order to

emphasize that God is the addressee of the demand, so that he as human beings

expects that God will give what he demands.

Different from clause (1), clause (2) does not consist of subject. The subject is

implied that is God. Because of that, this clause is classified as imperative form. In

imperative, the existence of predicator is a must. The predicator is realized by a word

hapus. Since it is imperative, this clause reveals that human beings request or demand

something to God. They demand a service of erasing their grief and loneliness. As we

know, grief and loneliness can be erased literally, so that this clause has metaphoric

meaning. This clause applies metaphor “grief and loneliness are stain”. The author of

the song thinks that grief and loneliness are like stain which can be erased only by

God as his creator. Therefore, this clause encodes that human beings as God’s

creature demand something to God. By demanding, they invite God to give what they

demand.

Similar to clause (2), clause (3) also does not have a subject. Therefore, this

clause belongs to imperative form. Since it is imperative, the clause functions to

request something. In this case, the author of the song as human being requests a

service to God. He demands God to give him a light to his brittle heart. Actually, this

clause has metaphoric meaning. It applies metaphor “heart is a visible subject”. We

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have common knowledge that we cannot literally give a light to invisible subject like

heart. Thus, he considers heart as visible subject, so that God can give a light to his

heart. In demanding the service, he expects that God will undertake what he demands.

According to the analysis above, the author of the song as human being demands

three services to God. First, he demands God to protect him from temptation of evil’s

whisper. Second, he also requests God to erase his grief and loneliness. Erasing his

grief and loneliness means that he wants God to give him happiness instead of grief

and loneliness. Third, he also demands God to give a light to his brittle heart. By

demanding these kinds of service, he is thereby inviting God to give what he wants.

Thus, these clauses above reveal that human beings represented by the author of the

song demand something to God.

2. Human beings beg for God’s forgiveness

According to the mood analysis, the writer found that human beings as God’s

creature beg for God’s forgiveness. They demand by praying to God, so that God will

give His forgiveness to them. Below is an example of clause that has relational

meaning that human beings beg for God’s forgiveness.

(4) (Tuhan) ampunkanlah aku(God) forgive me

Here, clause (4) contains a word implying that human beings beg to God. The

word is ampunkanlah. Then, this clause belongs to imperative type which also reveals

that human beings beg to request something to God. It is realized by the existence of

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suffix –lah. Beside that, commonly the imperative clause does not have a subject. The

subject is implied as it is stated in this clause. In addition, this clause has positive

polarity. In this clause, the author of the song demands God to forgive him. As a

human being, surely he made some mistakes and sins. Because of that, he demands

by begging God to forgive him from all mistakes and sins. Thus, the writer concludes

that human beings beg for God’s forgiveness.

3. Human beings wish for God’s forgiveness

There is a clause that encodes relational meaning that human beings wish for

God’s forgiveness. Here is the clause.

(5) Setitik ampunanMu akan menghapuskan dosa kamiA bit of Your forgiveness will erase our sins

In mood analysis, this clause has a finite verbal operator of future tense. The

verbal operator is realized by a word akan. Akan indicates future tense. Future tense

is used to tell an event that has not happened yet. Because of that, the writer can

construe that this clause tells a wish of human beings for getting God’s forgiveness.

By getting God’s forgiveness, human beings think that their sins will be erased. In

addition, God is the addressee that is invited to give His forgiveness to human beings.

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4. Human beings tell great characters of God

One of kinds of relational meaning found by the writer in the data is that human

beings tell great characters of God. This relational meaning is realized by three

clauses. Here are examples of the clauses.

(6) Hanya Allah Maha PengasihAllah is the only Most Gracious

(7) Sesungguhnya Engkau sang Maha Pengampun DosaYou are indeed the Forgiver

(8) Engkau Allah yang Maha MendengarYou, Allah is the Hearing

As we can see in clause (6) through (8), there are certain words which determine

characters of God. Clause (6) has a mood adjunct of intensity which is realized by a

word hanya. Hanya is used to limite that character Maha Pengasih is only owned by

God. Furthermore, clause (7) has also a mood adjunct of intensity. It realized by a

word sesungguhnya. The author of the song might use sesungguhnya in order to

acknowledge great character of God that is Maha Pengampun Dosa.Clause (8) also

tells a kind of character of God. Here, God has character that is the Hearing.

According to the analysis, these clauses consist of a word Maha. Maha is such a

determiner that shows God’s greatness beyond others. Thus, these clauses can be

construed as telling great characters of God that are different from human beings.

These characters belong to Asmahul Husna contained in Holy Qur’an.

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5. Human beings assign the importance of God’s blessing

Based on the mood analysis, it is found that human beings assign the importance

of God’s blessing. It is realized by a clause below.

(9) Setitik rahmat yang Kau beri lebih berarti dari segalanyaA bit of Your blessing is more meaningful than everything

Since clause (9) is declarative, it must be a statement of the author of the song.

Beside that, there is a comparative degree that is realized by more and than. Here, a

word more is followed by an adjective meaningful, while a word than is used to

compare two things which are God’s blessing and everything. It is stated that God’s

blessing is more meaningful than everything. It implies that God’s blessing is very

important for human beings. From this analysis, we know that God is the one who

gives, while human beings are those who demand service to God.

6. God’s creatures manifest their love for God

This kind of relational meaning is construed through some clauses. Below are

these clauses.

(10) Semesta bersujud padaMuThe entire world bow down to You

(11) Aku mimpi seluruh hidupku tentangMuI dream of You all my life

(12) Semua bertasbih akan kebesaranMuAll of God’s creatures celebrate the praises of Allah

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These clauses belong to declarative, so these are statements. Subjects found in

these clauses are semesta, aku, and semua. The subjects represent God’s creatures.

The writer encoded these clauses as manifestation of God’s creatures’s love for God

because they have verbal groups such as bersujud, mimpi, and bertasbih that indicate

manifestation of love. As we know, when we fall in love with someone, we do

whatever to please him or her. We also experience strange actions like dreaming of

him or her. When we dream of him or her, it is likely that we think of him or her. In

this case, the addressee is God. God’s creatures including human beings manifest

their love to God by doing certain actions like bowing down, dreaming and

celebrating. Here, God’s creatures give their love to God. Then, they expect that God

will receive their love.

7. Human beings thank God

There is also a clause which encodes relational meaning that human beings thank

God. It can be seen through this clause:

(13) Semua bersyukur nikmatMuAll of Your creatures are grateful of Your Favour

Clause (13) has a subject semua that represents human beings. This clause is such

a statement of the author of the song because it belongs to declarative. In this case,

human beings thank for what God has given to them. God has given His favour to

them, then they receive it. They are grateful after receiving it. From this relational

meaning, we know that God as their creator provides anything to them. One of them

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is His favour. Therefore, human beings are supposed to be grateful of what they get

from God.

8. Human beings have causal relationship with God

From the mood analysis, the writer found that a clause encodes this kind of

relational meaning. The relational meaning revealed is that human beings have causal

relationship with God. It can be construed through this clause below.

(14) Aku hidup denganMuI live with You (God)

As seen in this clause above, the subject that appears is realized by a word aku.

Aku represents human beings. Through this clause, the author of the song gives his

comment on what he is saying. It is said that he as human being lives with God. It

also tells that he cannot live without God. As we know, God is the Creator of all,

including human beings. It implies that we can live by God’s permission. Therefore,

by considering this analysis, the writer construes that human beings have causal

relationship with God in their aspect of life.

9. Human beings lower themselves towards God’s greatness

There is a clause which reveals this kind of relational meaning. Here is the clause.

(15) Tak mungkin aku bisa mencintaiMu sempurna seperti keMaha-anMuImpossibly, I could love You as perfect as Your greatness

This clause is initiated with the words tak mungkin. Tak mungkin belongs to

comment adjunct because it shows speaker’s assesment on what he is saying. In this

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clause, the speaker is aku as the representation of human beings. Beside that, this

clause consists of a finite of modality can. Can has low degree in modality. It

indicates speaker’s judgement of the possibilities involved in the clause. Moreover,

the author of the song uses a degree of comparison realized by a phrase sempurna

seperti keMaha-anMu. Sempurna seperti keMaha-anMu is categorized as positive

degree. According to this analysis, this clause can be construed that aku as a

representation of human beings has no possibility to love God as perfect as God’s

greatness. It implies that human beings lower themselves towards God’s greatness.

By lowering themselves, it means that they acknowledge that God is more superior

and they are inferior.

4.4. Relational Meaning in Dangdut-Islamic Songs

In this research, the relational meaning in dangdut-Islamic songs can be construed

through mood analysis. After the writer analyzed data which were taken from fifteen

lyrics of eight songs of Rhoma Irama, the writer tried to reveal relational meanings

between God and His creatures. Then, the writer found that there were particular

relational meanings. These relational meanings were presented through table.

Furthermore, the writer explained each relational meaning by providing some

examples of clause. The table will be presented later through table 4.4 in the

appendix.

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1. God reminds human beings to be grateful

According to the mood analysis, there is a clause which encodes that God

demands human being as His creature to be grateful on what life may bring. Because

of that, human beings are expected to undertake God’s demand. Below is the clause

that encodes this kind of relational meaning.

(1) Nikmat Allah akan ditambahkan bagi orang yang pandai bersyukurAllah’s favour will be raised for those who are grateful

Clause (1) has a form of passive voice. It is indicated by the prefix di-. Since, it is

passive, nikmat Allah is the object. Then, the subject must be God. In this clause,

there is a complement answering the question to whom. It is realized by a phrase bagi

orang yang bersyukur. Besides, there is a finite of future tense realized by a word

akan. It means that the raising of Allah’s favour is after the time of speaking.

Moreover, akan also belongs to a finite of median modality. Thus, the author of the

song gives information that God will raise His favour to those who are grateful. This

information is also written in Holy Qur’an. Human beings are thereby invited to

acknowledge this information. Through this analysis, it can be implied that God

reminds human beings to be grateful, so that God will raise His favour.

2. Human beings adore God

The writer also found this kind of relational meaning between God and human

beings. The relational meaning is construed through a clause, as follows:

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(2) Sempurna Tuhan menciptakan dirimu yang tiada celaGod’s perfection creates you without flaw

Through this clause, the author of the song tells that God’s perfection creates

human beings without flaw. As we know, God is the greatest creator of all. God is

able to create both living things and non-living things which no one can do better

than He did. One of His creatures is surely human beings. We wonder how God can

create all of this beyond our powers and expectations. We as human beings have

acknowledged that God is the best. In addition, we adore God on what He did to

create us. Therefore, this clause reveals that human beings adore God.

3. God gives His service to human beings

This kind of relational meaning is construed through a clause. Here is the clause.

(3) Engkau melimpahkan semua rasa kasih sayangMuYou give all Your affections

Clause (3) has a subject Engkau that represents God. Here, God gives all His

affections. Actually, there is no addressee in this clause. Since this clause is told by

the author of the song as human beings, the addresse of the action of giving is surely

human beings. In this case, God gives all His affections to human beings. Then,

human beings are supposed to receive the affections. Thus, giving affections is a kind

of service that God gives to human beings. Because of that, this clause can reveal that

God give His service to human beings.

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4. Human beings tell great characters of God

There are some clauses that encode relational meaning that human beings tell

great characters of God. The clauses are presented below, as follows:

(4) Engkau Maha MemutuskanYou are the Able

(5) Tuhan tidak beranakGod does not beget

(6) Tuhan tidak diperanakkanGod is not begotten

(7) Tiada satupun yang menyerupaiNyaThere is no one like Him

In clause (4), the author of the song gives information that God is the Able. The

Able means that God is able to decide anything. Here, the author of the song is

inviting human beings to acknowledge his statement. To determine with human

beings’s character, God’s character is described by adding a word Maha. Maha tells

greatness of God’s character. This clause encodes that human beings tell great

character of God that is the Able. God is the Able who decides all matters in the

world.

Furthermore, clause (5) also encodes that God has great character. God as the

subject is described that He does not beget. Verbal operator does not indicate

negative polarity contained in this clause. God does not beget means that He does not

inherit His characters to a child. It reveals God’s character the One. There is only one

God. It is also said in the Holy Qur’an that God is the One. Therefore, we have to

acknowledge this character of God.

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Besides, the author of the song gives information that God has great character

through clause (6). God’s character told by him is that God is not begotten. As we

know from Holy Qur’an, there is no creator of God. Moreover, God does not have

parents like we do. Thus, it reveals that God is the One. Because of that, we as human

beings are thereby invited to acknowledge this great character of God.

Then, clause (7) is a statement, since the author of the song gives information to

the readers or hearers. Through this clause, he thinks that there is no one like. He is

thereby inviting us as the readers or hearers to acknowledge his statement. In our

religion, it is believed that God is the Greatest. God has particular characters that no

one has. In addition, God is more superior than us. Thus, this clause reveals that God

has a great character.

According to the explanation above, these clauses can be construed that the author

of the song gives information about the great characters of God. The great characters

of God are also known as Asmahul Husna contained in the Holy Qur’an. Because of

that, these clauses contain of factual information that represent characters of God.

Therefore, we as God’s creatures are supposed to acknowledge it.

5. Human beings remind others of God’s torment

According to the mood analysis, the writer also found this kind of relational

meaning that human beings remind others of God’s torment. It is realized through a

clause, as follows:

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(8) Bagi orang yang kufur adzab Allah sangat pedihFor those who do not believe, Allah’s torments are very grievous

In this clause, the author of the song gives information that God’s torment is very

grievous. God’s torment is given for those who do not believe in God. It can be

inferred that the author of the song reminds other human beings of God’s grievous

torment. By giving this reminder, he as human being expects that other human beings

will acknowledge it, so that they are aware of God’s grievous. In addition, this clause

also implies that God does not merely give human beings blessing, favour and so on.

On the contrary, God has also an authority to give them His torment if they do not

believe in Him.

6. The Word of God has important roles for human beings

There are some clauses which reveal this kind of relational meaning. Here are the

clauses.

(9) Firman Tuhan sumber keselamatanThe Word of God is the source of salvation

(10) (Kau) jangan mempermainkan firman Tuhan(You) do not play on the Word of God

These clauses are about the Word of God. As we know, the Word of God is

delivered to the Prophet Muhammad. Then, the word of God is written in the Holy

Qur’an’. It has a purpose to give guidances for God’s creatures including human

beings.

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In clause (9), the author of the song gives information that the Word of God is the

source of salvation. It means that if we want to have good lifes including salvation,

we have to believe and apply the Word of God in our whole lifes. Here, the author of

the song is thereby inviting other human beings to acknowledge it.

Then, clause (10) has different mood type. This clause belongs to imperative.

Sometimes, imperative lacks a subject, but we know that the subject is human beings.

The verbal finite operator do not indicates negative polarity. In this clause, the author

of the song gives a warning for others to not to play on the Word of God. The word of

God comes from God. If we play on the word of God, it means that we also play on

God. That is a big sin. Thus, we are thereby expected to acknowledge it.

According to the analysis above, the author of the song gives information

concerning the Word of God. As it is stated in these clauses, we are prohibited to play

on the Word of God. On the contrary, we have to glorify the Word of God. By doing

and behave good based on what it is stated in the Word of God, definitely good things

will come to our lifes. Therefore, these clauses reveal that the Word of God has

important roles for human beings.

7. Human beings demand something to God

Another kind of relational meaning is that human beings demand something to

God. This relational meaning is construed through some clauses, as follows:

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(11) Tuhan kabulkan doa kamiGod, listen to our prayer

(12) Kami memohon pertolongan hanya padaMu TuhanWe only seek for a help to You, God

Here, clause (11) belongs to imperative. There is certain suffix which indicates

imperative. It is suffix –kan in verbal group kabulkan. This imperative functions to

make a demand to someone. Someone that is demanded is God. In clause (11), the

author of the song tells that human beings demand a service of forgiving to God.

When we make a mistake, only God can forgive it. After demanding, we absolutely

expect that God will undertake His service. Thus, this clause encodes that human

beings demand something which is a service to God.

Beside that, clause (12) also encodes this relational meaning. Although this clause

is not imperative, it can be construed that this clause shows a demand. The demand is

realized by verbal group memohon. As a representation of human beings, the subject

kami begs for a help only to God. The word hanya (only) belongs to mood adjunct of

intensity. It is used to limite to whom human beings beg for. This clause implies that

God is the only one who is able to give a help to human beings. Because of that,

human beings invite God to undertake what they demand.

Based on the analysis above, the writer can conclude that human beings demand

something to God. As it is stated in clause (11), human beings demand God to listen

their prayers, then God is thereby invited to grant the prayers. If they believe and

have a faith in God, certainty God will grant what they want. According to Holy

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Qur’an, whether God will grant the prayers or not depends on human being’s

prejudice towards God. Then, clause (12) also reveals that human beings demand

something to God. In clause (12), human beings demands a help from God, God is

thereby expected to give a help to them. Here, God will give a help for those who

believe in God. God’s help does not merely come easy. On the other hand, God

observes how much their efforts are in order to know when God will give the help to

them. Thus, these clauses can be construed that human beings demand something to

God.

8. Human beings manifest their love to God

As God’s creatures, human beings manifest their love to God by doing some

actions. The actions can be revealed through some clauses. Here are the clauses.

(13) Kita menyembah hanya padaNyaWe only worship Him (God)

(14) Ku tadahkan kedua tanganku ke langit tinggiI raise my hands up to the Heavens

These clauses are statements because the mood types are declarative. There are

two subject found in these clause: kita and ku. The subjects represent human beings.

In clause (13), it is stated that human beings worship God. A mood adjunct of

intensity realized by a word hanya also appears. Hanya means that God is the one to

whom human beings worship.

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Furthermore, clause (3) is a statement that human beings raise their hands up to

the high sky. As we know, raising our hands up symbolizes that we are praying to

God. They point their hands at high sky which implies where God lives. Praying to

God is a kind of love manifestation from them to God. It also implies that by praying

they believe that God exists.

As explained before, the writer can construe that these clauses have relational

meaning that human beings manifest their love to God. It is not a secret that we are

willing to do anything when we are falling in love. We make some efforts to prove

our beloved that we truly love him or her. In this case, human beings fall in love with

God, so they do certain actions realized by verbal groups above. They give those

actions in order to show that they really love God. Then, they expect that God will

accept their love manifestations. Therefore, these clauses encode that human beings

manifest their love to God.

9. Human beings are given warning concerning with God

According to the mood analysis, there is a clause which reveals relational

meaning that human beings are given warning. This kind of relational meaning will

be explained through this clause, as follows:

(15) Kau jangan menyekutukanNyaYou do not betray Him

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This clause indicates negative polarity because each clause has finite verbal

operator do not. Do notmeans a warning of doing action. This clause has a subject

that is kau. Kau refers to human beings. In this clause, human beings are warned to

not betray God that is realized by a word Dia. As we know, it is obviously stated in

the Holy Qur’an that we are prohibited to do such actions like betraying. God hates

those who betray and do not believe in Him. Thus, there will be some consequences

that human beings get, if they remain to do it. On the contrary, we have to believe in

God. We are also supposed to have a faith in God because God has given everything

to us, even God has given what we do not want. However, God has always given

what we need. From this analysis, the writer makes a conclusion that human beings

are given warning concerning with God.

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CHAPTER V

CONCLUSION

5.1 Conclusion

In this chapter, the writer would like to infer the results of data analysis. Based on

the data analysis, the writer found that there are five types of processes appearing in

fifteen lyrics of pop-Islamic songs. These processes are material, mental, behavioural,

verbal, relational processes. Here, the material process is dominant. It shows that the

lyrics focus on activities. There are two kinds of processes that do not appear in the

data that are existential and meteorological processes. Besides, the writer also found

that there are five types of processes in fifteen lyrics of dangdut-Islamic songs that

are material, mental, relational, and existential processes. The processes that do not

appear are verbal, behavioural, and meterological processes. Similar to pop-Islamic

songs, material process appears dominantly.

After analyzing through transitivity analysis, the writer could construe some

ideational meanings. In pop-Islamic songs, the writer could construe seven kinds of

ideational meanings. The ideational meanings are God is an actor who can fulfill

what human beings need, God is the Forgiver, God has characters that are different

from human beings, God’s blessing is the best of all, God is the Most Powerful,

Human beings depend on God, and Human beings thank God. Then, the writer could

construe six kinds of ideational meanings in dangdut-Islamic songs. They are God

gives everything to His creatures, God is the Most Powerful, God has different

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character from human beings, Human beings are under obligation to take over the

Word of God, God is the One, and Human beings pray to God.

Furthermore, by analyzing through mood system, the writer found that there are

only two types of mood appearing in pop-Islamic songs, namely indicative-

declarative (73,33%) and imperative (26,67%). Data from pop-Islamic songs contain

finite of modality and finite of tense. Mood adjunct of polarity and intensity also

appear in the data. From this analysis, the writer could reveal nine kinds of relational

meanings. The relational meanings are Human beings demand something to God,

Human beings beg for God’s forgiveness, Human beings wish for God’s forgiveness,

Human beings tell great characters of God, Human beings assign the importance of

God’s blessing, God’s creatures manifest their ove for God, Human beings thank

God, Human beings have causal relationship with God, and Human beings lower

themselves towards God’s forgiveness.

Then, the writer also found two types of mood in dangdut-Islamic songs that are

indicative-declarative (80%) and imperative (20%). From data of dangdut-Islamic

songs, a finite of median modality appears. The finite of future and present tense is

also found in the data. Moreover, there are circumstantial adjuncts in the data. From

this analysis, the writer could reveal nine kinds of relational meanings that are God

reminds human beings to be grateful, Human beings adore God, God gives His

service to human beings, Human beings tell great characters of God, Human beings

remind others of God’s torment, The Word of God has important roles for human

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beings, Human beings demand something to God, Human beings manifest their love

for God, and Human beings are given warning concerning with God.

5.2 Suggestion

The writer realizes that this thesis is still far from perfection. As explained before,

this thesis concern two fields of linguistic theories which are ideational meaning and

relational meaning in pop-Islamic and dangdut-Islamic songs. However, the writer

has a suggestion to the readers who want to conduct similar research. The readers

may choose only one field instead of two fields of linguistic theories in order to make

the analysis clearer and more specific.

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REFERENCES

Fajrien, Anis Fariatin. 2009. “Spongebob Squarepants Movie Transcript: Fear of aKrabby Patty by C.H. Greenblatt and Paul Tibbit”. Unpublished FinalProject.Diponegoro University.

Feng, Hao and Liui, Yuhui. 2010. “Analysis of Interpersonal Meaning in PublicSpeeches: A Case Study of Obama’s Speech”. Journal of Language Teachingand Research, Vol. 1, No. 6, pp. 825-829. Retrieved on May 9th 2015 from:http://ojs.academypublisher.com/index.php/jltr/article/download/0106825829/2278.pdf.

Gerrot and Wignell. 1994. Making Sense of Functional Grammar. Cammeray: GerdStabler.

Halliday, M.A.K. 2004. An Introduction to Functional Grammar. London: Arnold.

Hidayat, Yusuf. 2014. “The Ideational Meaning Realised in the Written Discourse inOnline Newspaper on Abdul Qodir Jaelani (AQJ)”. English EducationJournal, Vol. 4, No. 1, pp. 24-30. Retrieved on May 9th 2015 from:http://journal.unnes.ac.id/sju/index.php/eej/article/view/6637/4794.pdf.

Martin, J.R. and Rose D. 2003.Working with Discourse. London and New York:Continuum.

Ningsih, E.F, Tallapessy, A, and Setiarini, R. 2014. “Construing Ideational Meaningin Electronics Devices Advertisement in Jawa Pos: A Systemic FunctionalLinguistic Multimodal Discourse Analysis”. Publika Budaya, Vol. 2, No. 1,pp. 6-14. Retrieved on May 9th 2015 from:http://jurnal.unej.ac.id/index.php/PB/article/view/577/400.pdf.

Sudaryanto. 1993. Metode dan Aneka Teknik Analisis Bahasa. Yogyakarta: DutaWacana University Press.

Thompson, G. 2004. Introducing Functional Grammar. London: Arnold.

Wigati, Susi. 2009. “Ideational Meaning pada Lirik Lagu Breakaway, I Believe I canFly, We Will Not Go Down, dan White Flag”. Unpublished FinalProject.Diponegoro University.

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Yuliati. 2013. “Interpersonal Meaning Negotiation in the Teacher-Student VerbalInteraction”. The International Journal of Social Sciences, Vol. 11, No. 1, pp.52-60. Retrieved on May 9th 2015 from:http://www.tijoss.com/TIJOSS%2011th%20Volume/Yuliati7.pdf.

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SOURCES OF DATA

Ampunilah. Available from: http://lirik.kapanlagi.com/artis/rhoma_irama/ampunilah[Accessed on May 7th 2015]

Bersatulah. Available from: http://lirik.kapanlagi.com/artis/rhoma_irama/bersatulah[Accessed on May 7th 2015]

Beruntunglah. Available from: http://gudanglagu.co/40381/opick-beruntunglah/[Accessed on May 7th 2015]

Bimbang. Available from: http://lirik.kapanlagi.com/artis/rhoma_irama/bimbang[Accessed on May 7th 2015]

Bismillah. Available from: http://gudanglagu.co/39966/rhoma-irama-bismillah/[Accessed on May 7th 2015]

Buka Mata Buka Hati. Available from:http://liriknasyid.com/index.php/lirik/detail/2417/opick-buka-mata-buka-hati.html [Accessed on May 7th 2015]

DenganMu Aku Hidup. Available from: http://gudanglagu.co/10666/opick-denganmu-ku-hidup/ [Accessed on May 7th 2015]

Firman Tuhan. Available from: http://gudanglagu.co/39987/rhoma-irama-firman-tuhan/ [Accessed on May 7th 2015]

Hanya Allah. Available from: http://lirik-lagu7.blogspot.com/2015/07/opick-hanya-allah.html [Accessed on May 7th 2015]

Kesaksian Diri. Available from: https://liriklaguindonesia.net/opick-kesaksian-diri.htm [Accessed on May 7th 2015]

La Ilaha Illallah. Available from:http://lirik.kapanlagi.com/artis/rhoma_irama/la_ilaha_illallah [Accessed onMay 7th 2015]

Masya Allah. Available from:http://lirik.kapanlagi.com/artis/rhoma_irama/masya_allah [Accessed on May7th 2015]

81

Taubat. Available from: http://liriknasyid.com/index.php/lirik/detail/3167/opick-taubat.html [Accessed on May 7th 2015]

Mata Air dan Air Mata. Available from:http://lirik.kapanlagi.com/artis/rhoma_irama/mata_air_dan_air_mata[Accessed on May 7th 2015]

Sentuh Aku.Available from: https:// free-softmedia.blogspot.com/2014/08/lirik-lagu-opick-sentuh-aku.html [Accessed on May 7th 2015]

Tuhan Lindungilah. Available from:http://liriknasyid.com/index.php/lirik/detail/3309/opick-tuhan-lindungilah.html [Accessed on May 7th 2015]

82

APPENDIX

Table 4.1 Representation of God in Pop-Islamic Songs

Representation of God in Pop-Islamic SongsKinds of Ideational

Meaning Data Sources

God is an actor who canfulfill what humanbeings need

Tuhan lindungilah kami semua daribisikan setan yang menggoda

TuhanLindungilah

(Tuhan) hapus segala duka dansepiku

Sentuh Aku

(Tuhan) terangi hati yang merapuh Sentuh Aku

God is The Forgiver(Tuhan) ampunkanlah aku TaubatSetitik ampunanMu akanmenghapuskan dosa kami

Kesaksian Diri

God has characters thatare different fromhuman beings

Hanya Allah Maha Pengasih BeruntunglahEngkau Allah yang MahaMendengar

DenganMu AkuHidup

Sesungguhnya Engkau sang MahaPengampun Dosa

Taubat

God’s blessing is thebest of all

Setitik rahmat yang Kau beri lebihberarti dari segalanya

Kesaksian Diri

God is the MostPowerful

Semesta bersujud padaMu Hanya Allah

Human beings dependon God

Semua bertasbih akan kebesaranMu Hanya Allah

Aku hidup denganMuDenganMu AkuHidup

Aku mimpi seluruh hidupkutentangMu

Sentuh Aku

Tak mungkin aku bisa mencintaiMuseperti keMaha-anMu

Buka Mata BukaHati

Human beings thankGod

Semua bersyukur nikmatMu Hanya Allah

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Table 4.2 Representation of God in Dangdut-Islamic Songs

Representation of God in Dangdut-Islamic SongsKinds of Ideational

Meaning Data Sources

God gives everythingto His creatures

Allah akan menambahkannikmatNya bagi orang yang pandaibersyukur

Bismillah

Engkau melimpahkan semua rasakasih sayangMu

Mata Air dan AirMata

God is the MostPowerful

Sempurna Tuhan menciptakandirimu yang tiada cela

Masya Allah

Bagi orang yang kufur adzab Allahsangat pedih

Bismillah

God has differentcharacters from humanbeings

Engkau Maha Memutuskan Bimbang

Human beings areunder obligation to takeover the Word of God

Firman Tuhan sumber keselamatan Firman Tuhan

(Kau) jangan mempermainkanfirman Tuhan

Firman Tuhan

God is the One

Kita menyembah hanya padaNya Bersatulah

Kau jangan menyekutukanNya Laillahailallah

Kami memohon pertolongan hanyapadaMu oh Tuhan

Mata Air dan AirMata

Tiada satupun yang menyerupaiNya Laillahailallah

Tuhan tidak beranak Laillahailallah

Tuhan tidak diperanakkan Laillahailallah

Human beings pray toGod

Tuhan kabulkan doa kamiMata Air dan AirMata

Ku tadahkan kedua tanganku kelangit tinggi

Ampunilah

84

Table 4.3 Relationship between God and Human Beings in Pop-Islamic Songs

Relational Meaning in Pop-Islamic SongsKinds of Relational

Meaning Data Sources

Human beings demandsomething to God

(Tuhan) hapus segala duka dansepiku

Sentuh Aku

Tuhan lindungilah kami semua daribisikan setan yang menggoda

Tuhanlindungilah

(Tuhan) terangi hati yang merapuh Sentuh Aku

Human beings beg forGod’s forgiveness (Tuhan) ampunkanlah aku Taubat

Human beings wish forGod’s forgiveness

Setitik ampunanMu akanmenghapuskan dosa kami

Kesaksian Diri

Human beings tell greatcharacters of God

Hanya Allah Maha Pengasih Beruntunglah

Sesungguhnya Engkau sang MahaPengampun Dosa

Taubat

Engkau Allah yang Maha MendengarDenganMu AkuHidup

Human beings assignthe importance ofGod’s blessing

Setitik rahmat yang Kau beri lebihberarti dari segalanya

Kesaksian Diri

God’s creaturesmanifest their love for

God

Semesta bersujud padaMu Hanya Allah

Aku mimpi seluruh hidupkutentangMu

Sentuh Aku

Semua bertasbih akan kebesaranMu Hanya Allah

Human beings thankGod

Semua bersyukur nikmatMu Hanya Allah

Human beings havecausal relationship withGod

Aku hidup denganMuDenganMu AkuHidup

Human beings lowerthemselves towardsGod’s greatness

Tak mungkin aku bisa mencintaiMusempurna seperti keMaha-anMu

Buka Mata BukaHati

85

Table 4.4 Relationship between God and Human Beings in Pop-Islamic Songs

Relational Meaning in Dangdut-Islamic SongsKinds of Relational

Meaning Data Sources

God reminds humanbeings to be grateful

Nikmat Allah akan ditambahkan bagiorang yang pandai bersyukur

Bismillah

Human beings adoreGod

Sempurna Tuhan menciptakan dirimuyang tiada cela

Masya Allah

God gives His serviceto human beings

Engkau melimpahkan semua rasakasih sayangMu

MataAir dan AirMata

Human beings tell greatcharacters of God

Engkau Maha Memutuskan Bimbang

Tuhan tidak beranak Laillahailallah

Tuhan tidak diperanakkan Laillahailallah

Tiada satupun yang menyerupaiNya Laillahailallah

Human beings remindothers of God’s torment

Bagi orang yang kufur adzab Allahsangat pedih

Bismillah

The Word of God hasimportant roles for

human beings

Firman Tuhan sumber keselamatan Firman Tuhan

(Kau) jangan mempermainkan firmanTuhan

Firman Tuhan

Human beings demandsomething to God

Tuhan kabulkan doa kamiMataAir dan AirMata

Kami memohon pertolongan hanyapadaMu Tuhan

MataAir dan AirMata

Human beings manifesttheir love to God

Kita menyembah hanya padaNya Bersatulah

Ku tadahkan kedua tanganku kelangit tinggi

Ampunilah

Human beings aregiven warningsconcerning with God

Kau jangan menyekutukanNya Laillahailallah

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Transitivity Analysis in Pop-Islamic Songs

MATERIAL PROCESSES IN POP-ISLAMIC SONGS

Actor Material Recipient Goal/Range Circumstances

Tuhan lindungilahkami

semua

dari bisikan setanyang menggoda

(matter)

(Tuhan) hapussegala duka dan

sepiku

(Tuhan) terangihati yangmerapuh

SetitikampunanMu

akanmenghapuskan

dosa kami

Semesta bersujud padaMu

MENTAL PROCESSES IN POP-ISLAMIC SONGS

Senser Mental Phenomenon Circumstances

Semua bersyukur (atas) nikmatMu (matter)

Takmungkin

Aku bisa mencintai Museperti keMaha-anMu

(comparison)

(Tuhan) ampunkanlah Aku

BEHAVIOURAL PROCESSES IN POP-ISLAMIC SONGS

Behaver Behavioural Range Circumstances

Akumimpi seluruh hidupku tentangMu (matter)

hidup denganMu (accompaniment)

VERBAL PROCESS IN POP-ISLAMIC SONGS

87

Sayer Verbal Verbiage Circumstances

Semua bertasbih akan kebesaranMu (matter)

RELATIONAL PROCESSES: IDENTIFYING IN POP-ISLAMIC SONGS

Token Identifying Value

Hanya Allah Maha Pengasih

EngkauAllah

yang Maha Mendengar

SesungguhnyaEngkauAllah

sang Maha Pengampun Dosa

RELATIONAL PROCESS: ATTRIBUTIVE IN POP-ISLAMIC SONGS

Carrier Attributive Attribute Circumstances

Setitik rahmat yang Kauberi

(menjadi)lebih

berartidari segalanya(comparison)

Transitivity Analysis in Dangdut-Islamic Songs

88

MATERIAL PROCESSES IN DANGDUT-ISLAMIC SONGSActor Material Goal/Range Recipient Circumstances

Allahakan

menambahkannikmat-Nya

bagi orang yangpandai

bersyukurSempurna

Tuhanmenciptakan dirimu

yang tiada cela(quality)

Engkau melimpahkanrasa kasihsayangMu

Kita menyembahhanya pada-

Nya

Kaujangan

menyekutukanNya

(Kau)jangan

mempermainkanfirmanTuhan

Ku tadahkankedua

tangankuke langit tinggi

(place)

MENTAL PROCESSES IN DANGDUT-ISLAMIC SONGS

Senser Mental Phenomenon Circumstances

Kami memohon Pertolongan hanya padaMu oh Tuhan (behalf)

Tuhan kabulkan doa kami

RELATIONAL PROCESSES: ATTRIBUTIVE IN DANGDUT-ISLAMICSONGS

Carrier Attributive Attribute Circumstances

AdzabAllah

sangat pedih bagi orang yang kufur (behalf)

FirmanTuhan

sumber keselamatan

89

RELATIONAL PROCESSES: IDENTIFYING IN DANGDUT-ISLAMICSONGS

Token Identifying Value

Engkau Maha Memutuskan

Tuhan tidak beranak

Tuhan tidak diperanakkan

EXISTENTIAL PROCESS IN DANGDUT-ISLAMIC SONGSExistential Existent Circumstances

Tiada satupunyang menyerupai-Nya

(comparison)

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Mood Analysis in Pop-Islamic Songs

Tuhan lindungilah kami semua dari bisikan setan yang menggodaSubj. Fin. Pred. Complement

Mood Residue

(Tuhan) hapus segala duka dan sepikuSubj. Fin. Pred. Complement

Mood Residue

(Tuhan) terangi hati yang merapuhSubj. Fin. Pred. Complement

Mood Residue

(Tuhan)ampunkanlah akuSubj. Fin. Pred. Complement

Mood Residue

Setitik ampunanMu akan menghapuskan dosa kamiSubject Fin.:median modality Predicator Complement

Mood Residue

Hanya Allah Maha PengasihMood Adjunct: intensity Subject Finite Complement

Mood Residue

Engkau Allah yang Maha MendengarSubject Finite Complement

Mood Residue

Sesungguhnya Engkau sang Maha Pengampun DosaMood Adjunct: intensity Subject Finite Complement

Mood Residue

91

Setitik rahmat yang Kau beri lebih berartidari segalanyaSubject Fin. Complement

Mood Residue

Semesta bersujud padaMuSubject Finite Predicator Complement

Mood Residue

Semua bertasbih akan kebesaranMuSubject Finite Predicator Complement

Mood Residue

Aku hidup denganMuSubject Finite Predicator Complement

Mood Residue

Aku mimpi seluruh hidupku tentangMuSubject Finite Predicator Complement

Mood Residue

Tak mungkin aku bisa mencintaiMusempurna seperti keMahaanMuMood

Adjunct:polarity

Subj.Fin.: lowmodality

Pred. Comp.Circ.

Adjunct:how

Comp.

Mood Residue

Semua bersyukur nikmatMuSubject Finite Predicator Complement

Mood Residue

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Mood Analysis in Dangdut-Islamic Songs

Allah akanmenambahkan nikmatNya bagi orang pandai bersyukur

Subj.Finite :future

Predicator Complement

Mood Residue

Engkau melimpahkan semua rasa kasih sayangMuSubject Finite Predicator Complement

Mood Residue

Sempurna Tuhan menciptakan dirimu yang tiada cela

Subject Finite Predicator ComplementCircumstantialadjunct : how

Mood Residue

Adzab Allah (adalah) sangat pedih bagi orang yang kufurSubject Finite Complement

Mood Residue

Engkau (adalah) Maha MemutuskanSubject Finite Complement

Mood Residue

Tuhan (adalah) tidak beranakSubject Finite Complement

Mood Residue

Tuhan (adalah) tidak diperanakkanSubject Finite Complement

Mood Residue

93

Firman Tuhan (adalah) sumber keselamatanSubject Finite Complement

Mood Residue

Jangan mempermainkan firman TuhanFinite: negative polarity Predicator Complement

Mood Residue

Kita menyembah hanya padaNyaSubject Finite Predicator Complement

Mood Residue

Kau jangan menyekutukan Nya

SubjectFinite: negative

polarityPredicator Complement

Mood Residue

Kami memohon pertolongan hanya padaMu Tuhan

Subject Fin. Pred. Comp.Mood adjunct:

intensityComp.

Mood Residue Mood Residue

Tiada satupun yang menyerupaiNyaFinite Subject Complement

Mood Residue

Tuhan kabulkan doa kamiSubject Finite Predicator Complement

Mood Residue

Ku tadahkan kedua tanganku ke langit tinggi

Subject Finite Predicator ComplementCircumstantialadjunct: where

Mood Residue

94

Song Lyrics of Sentuh Aku (Pop-Islamic Song)

Memuja diriMu dalam hidup yang bising

Mendamba sentuhMu

Mendamba cintaMu

Dendang suara nyanyiku sunyi

Mimpi seluruh hidupku tentangMu

Dan tak kan pernah bisa lari dariMu

Terangi jiwa ini yang terbata mencari

TanpaMu ku hilang tanpaMu tak berarti

Hadirlah cahaya jiwa

hapus segala duka dan sepiku

Sentuh dan balutlah luka dihati

Sentuh jiwaku yang kering tanpaMu

Hujani rindu di hatiku

Sentuh jiwaku yang hitam tanpaMu

Terangi hati yang merapuh

Sentuh jiwaku yang kering tanpaMu

Hujani rindu di hatiku

95

Hadirlah kau cahaya

Terangilah gelapnya jiwa

Hadirlah terangi sang jiwa

Song Lyrics of Tuhan Lindungilah (Pop Islamic Song)

Allahumma shallli 'ala Muhammad Ya Rabbi shalli 'alaihi wa salim

Allahumma shallli 'ala Muhammad Ya Rabbi shalli 'alaihi wa salim

Ketika cahya hilang dalam jiwa

Api membakar nafsu yang memuncak

Matahati yang resah gelap hilang arah

Tersesat dalam lingkaran angkara

Aaaa... gelora nafsu yang menipu

Aaaa... iblis menari mengitari kalbu

Tuhan lindungilah kami semua

Dari bisikan setan yang menggoda

Meski bertopeng sejuta yang indah

Kepalsuan 'kan berakhir bencana

96

Reff:

Aaaa... gelora nafsu yang menipu

Aaaa... iblis menari mengitari kalbu

Aaaa... sesat jalan tanpa sinar-Mu

Aaaa... hati berlindung hanya pada-MU

Bila hitam, ku temui

Bila dosa, bila perih

Ku memohon KAU ampuni

KAU jagalah diri ini

Song Lyrics of Taubat (Pop-Islamic Song)

Wahai Tuhan jauh sudah

Lelah kaki melangkah

Aku hilang tanpa arah

Rindu hati sinarmu

Wahai Tuhan aku lemah

Hina berlumur noda

Hapuskanlah terangilah

97

Jiwa di hitam jalanku

Ampunkanlah aku

Terimalah taubatku

Sesungguhnya engkau

Sang Maha Pengampun Dosa

Ya Rabbi ijinkanlah

Aku kembali padaMu

Meski mungkin takkan sempurna

Aku sebagai hambaMu

Ampunkanlah aku

Terimalah taubatku

Sesungguhnya engkau

Sang Maha Pengampun Dosa

Berikanlah aku kesempatan waktu

Aku ingin kembali

Kembali kepadaMu

98

Dan mungkin tak layak

Sujud padaMu

Dan sungguh tak layak aku

Song Lyrics of Kesaksian Diri (Pop-Islamic Song)

selamat di saat ajal memanggilnya

setitik kesalahan semua akan diperhitungkan

semisal buih dosa telah kita kerjakan

setiap mata, hati , tangan, kaki, akan jadi saksi

tiada dusta diri yg tak terhakimi

luka sepi air mata tak berarti lagi

akan terlambat segala sesal di waktu nanti

Allah mohon, jangan hukum kami dari dosa

ampuni kami karena tak mungkin

kami sanggup menahan pedih

setitik Rahmat yg Kau beri

lebih berarti dari segalanya

99

setitik ampunanMu kan menghapus dosa kami

karena mata, hati, tangan, kaki, akan jadi saksi

tiada dusta diri yang tak terhakimi

luka sepi air mata tak ebrarti lagi

akan terlambat segala sesal di waktu nanti

Song Lyrics of Beruntunglah (Pop-Islamic Song)

beruntunglah bila hati mengenal Allah

beruntunglah bila diri merindu Allah

beruntunglah bila jiwa berharap Allah

beruntunglah cita-cita hanyalah Allah

semua makhluk kan memuji memuja Allah

bersujudlah semesta raya kepada Allah

takkan ada perbandingan untukMu Allah

keagungan kebesaran milikMu Allah

semua di langitMu

semua dalam lautMu

setiap hati mendamba cintaMu

100

Allah Allah hanya Allah

semua kan bermuara

suka duka airmata cinta

hanya Allah Maha Pengasih

hanya Allah Maha Penyayang

Allah yang mengampuni

Allah yang memaafkan

Allah Maha Pemurah

Allah Maha Dermawan

Song Lyrics of DenganMu Aku Hidup (Pop-Islamic Song)

Denganmu aku hidup

Denganmu aku mati

Hanyalah padamu

hanyalah untukmu

Hidupkan dijalani

101

Padamu ku berserah

Padamu ku berpasrah

Hanyalah padamu

Hanyalah untukmu

Hidup kan dijalani

Engkau Allah yang Maha Mendengar

Engkau Allah yang Maha Penyayang

Engkau yang mengampuni

Engkau yang memaafkan

Engkau Allah

Allahurahman Allahurahim

Allahul malikul kudus hussalam

Allahul mukmin allahul muhaymin

Allahul azzizul jabar hul muttaqabir

102

Song Lyrics of Hanya Allah (Pop-Islamic Song)

Allahu Allahu Allahu Allah

Allahu Allahu Allahu Allah

Bersujud semesta padaMu

Memuji memuja asmaMu

Gelap terang hanya kar'naMu

Semua tunduk ta'at padaMu

Reff:

Bersujud padaMu, bersyukur nikmatMu

Bertasbih akan kebesaranMu

Merindu cah'yaMu, mengharap rahmatMu

Mendamba cinta kasih sayangMu

Bintang berdebar dalam genggamanMu

Ini laut-Mu dan itu langitMu

Setiap wajah kan bernafas kar'naMu

Atas izinMu

103

Allahu Allahu Allahu Allah

Allahu Allahu Allahu Allah

Hitam hati tanpa cah'yaMu

Gelap jiwa tanpa sinarMu

Song Lyrics of Buka Mata Buka Hati (Pop-Islamic Song)

Buka mataku buka hatiku

Alloh terangilah

Hidupku dengan sinarMu

Aku meraba tak berdaya

Tanpa rahmadMu aku hina

Beribu dosa telah terjadi

Bewarnai langkahku

Hitam diri

Hitamlah hari yang lalu

Gila tanpa cahayaMu

104

Gelap seluruh hidupku

Tak berdaya tak berarti sia-sia

Tak mungkin bisa ku sempurna

Mencintaimu seperti ke-Maha-anMu

Diri yang hina berlumur noda

Hanya bersimpuh

Memohon belas kasihMu

Beribu dosa telah terjadi

Bewarnai langkahku

Hitam diri

105

Song Lyrics of Bismillah (Dangdut-Islamic Song)

Kalau mau belajar

Sesudah belajar

Kalau mau bekerja

Sesudah bekerja

Mulailah setiap pekerjaan dengan membaca

Sudahilah setiap pekerjaan dengan membaca

Kalau mau makan baca (bismillah)

Sesudah makan (alhamdulillah)

Kalau mau tidur baca (bismillah)

Dan bangun tidur (alhamdulillah)

Tanpa membaca nama Allah

Makan minum tiada berkah

Tanpa membaca nama Allah

Pekerjaan tiada berkah

106

Bagi orang pandai bersyukur

Nikmat Allah

Song Lyrics of Mata Air dan Air Mata (Dangdut-Islamic Song)

Panas sungguh menyengat

Bagai membakar bumi ini

Resah berjuta insan

Di dalam menanti turunnya hujan

Jerit lapar menggema

Ratap dan tangisan serta doa

Tiada putus terucap

Dari segelintir orang beriman

Air mata pun mengalir

Mata air yang mengering

Tandus-gersang bumi ini

107

Tiada air setetes

Air mata pun mengalir

Mata air yang mengering

Tandus-gersang bumi ini

Tiada air setetes

Tuhan, dosa apakah kiranya

Hingga Kaumurkai semua

Adzab pedih-Mu yang menggoncangkan hati

Tuhan, hanya pada-Mu kami

Memohon pertolongan

Limpahkanlah semua rasa kasih-sayang-Mu

Tuhan, kabulkan doa kami

Biarkan kemarau berlalu pergi

Song Lyrics of Masya Allah (Dangdut-Islamic Song)

Ah

Masya Allah

Sempurna Tuhan menciptakan

108

Dirimu yang tiada cela

Kurasa engkaulah orangnya

Yang tercantik di jagat raya

Mustahil lelaki tak tergila-gila

Mustahil lelaki tak memuja-muja

Sempurna Tuhan menciptakan

Dirimu yang tiada cela

Memandang bibirmu yang selalu basah

Sama seperti memandang mangga muda

Memandang matamu yang sayu merayu

Sama seperti memandang safir biru

Yahoi, masya Allah

Yahoi, yahoi, masya Allah

Selama jantungku berdenyut

Apa maumu ‘kan kuturut

Sebelum darahku membeku‘Ku rela jadi sahayamu

Mustahil dirimu dapat kulupakan

109

Mustahil cintaku dapat terpadamkan

Selama jantungku berdenyut

Apa maumu ‘kan kuturut

Song Lyrics of Bimbang (Dangdut-Islamic Song)

Ani, cinta yang pertama

Tiada mudah kulupakan

Ricca, berhati mulia

Cintanya aku dambakan

Mereka teman yang setia

Sama mengharapkan diriku

Tak mungkin kalau keduanya

Karena hati cuma satu

Tiada dapat kubedakan

Satu di antara dua

Kalau harus ‘ku memilih

Sungguh aku tak kuasa

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Haruskah aku menghancurkan

Luhurnya nilai sebuah persahabatan

Haruskah aku memisahkan

Dua insan yang ikhlas di dalam berteman

Daripada mereka harus terpecah

Lebih baik aku mengalah

Bimbang, aku jadi bimbang

Tiada dapat memutuskan

Goncang, jiwa jadi goncang

Lenyaplah kebahagiaan

‘Pabila satu yang kupilih

Pasti yang lain menderita

‘Pabila tiada yang kupilih

Pasti mereka tak ‘kan rela

Tuhan, pada-Mu oh Tuhan

Semua ini kuserahkan

Apa yang harus kutempuh,

Engkau Maha Memutuskan

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Song Lyrics of Firman Tuhan (Dangdut-Islamic Song)

Sesungguhnya

Perilaku kehidupan manusia penuh dengan kerugian

Kecuali

Orang-orang yang beriman dan selalu mengerjakan kebajikan

Menunjukkan jalan kebenaran

Bernasihat penuh kesabaran

Kukuh teguh dengan keyakinan

Agama terpatri dalam iman

Tipu daya dunia ini gemerlapan dengan fantasi

Walau bukan hukum rimba yang lemah tak berdaya

Sementara rumah mewah gedung megah menghias kota

Fakir miskin anak yatim tunawisma jadi sampahnya

Sementara cerdik pandai cendekiawan pencipta rudal

Gelandangan pengangguran luntang-lantung merusak mental

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Sesungguhnya

Perilaku kehidupan manusia penuh dengan kerugian

Kecuali

Orang-orang yang beriman dan selalu mengerjakan kebajikan

Mana pikiran yang masih sehat

Hidup yang rugi tak selama dunia akhirat

Mana budaya kita yang asli

Kepribadian yang hakiki jangan dicemari

Mana agama dan keyakinan

Firman Tuhan janganlah sampai disalahgunakan

Orang yang rugi

Yang tak pernah melakukan kebajikan

Orang yang rugi

Yang tak pernah menegakkan kebenaran

Orang yang rugi

Yang tak pernah meluruskan keadilan

Punya agama punya aturan

Para sarjana para ilmuwan

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Lebih sempurna dengan firman Tuhan

Firman Tuhan harus dimuliakan

Firman Tuhan jangan dipermainkan

Firman Tuhan jadikanlah pedoman

Firman Tuhan sumber keselamatan

Renungkan, amalkan

Pasti kauperoleh kedamaian

Sesungguhnya

Perilaku kehidupan manusia penuh dengan kerugian

Kecuali

Orang-orang yang beriman dan selalu mengerjakan kebajikan

Song Lyrics of Bersatulah (Dangdut-Islamic Song)

Wahai, ketahuilah

Sesungguhnya Muslim bersaudara

Wahai, berpeganglah

Pada tali Allahu ta’ala

Hayo bersatu-padu

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Hayo dan seirama

Hayo seiman sejalan

Berpedoman pada Qur’an

Mari galang persatuan

Hayo bersatu-padu

Hayo dan seirama

Hayo rapatkan barisan

Agar semua musuh Islam

Tak ‘kan punya kesempatan

Janganlah kalian suka berpecah-belah

Laksana buih di atas lautan

Selalu diombang-ambingkan

Jiwa dan raga juga harta

Jiwa dan raga juga harta

Kita relakan demi agama

Dan demi tegaknya kebenaran

Kita semua tak ‘kan rela

Kita semua tak ‘kan rela

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‘Pabila ada yang coba-coba

Mengganggu dan merusak aqidah

Allah, hanya pada-NyaAllah

kita menyembahAllah

tunduk dan bertaqwa

Bila datang kebenaran

Pasti hancur kebatilan

Hayo bersatu-padu

Hayo dan seirama

Hayo seiman sejalan

Song Lyrics of La Ilaha Ilallah (Dangdut-Islamic Song)

Bismillahir rahmanir rahim

Qul huwallahu ahad, allahush shamad

Lam yalid walam yulad

Walam yakun lahu kuwan ahad

Katakan, Tuhan itu satu

Tuhan tempat menyembah dan tempat meminta

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Katakan, Tuhan itu satu

Tuhan tidak beranak dan tak diperanakkan

La ilaha illallah

La ilaha illallah

Mengapa kautuhankan manusia

Mengapa kau menuhankan benda

Janganlah kau menduakan Dia

Janganlah kau menyekutukan-Nya

Alam dan isinya semua ciptaan-Nya

Tiada satu pun yang menyerupai-Nya

La ilaha illallah

La ilaha illallah

Song Lyrics of Ampunilah (Dangdut-Islamic Song)

Kutadahkan kedua tanganku ke langit tinggi

Mohon ampun pada-Mu

Tuhan Pengasih Penyayang

Hapuskanlah dosa

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Dosa yang kusengaja atau yang tak kusengaja

Terimalah pintaku dan ampunilah semua

Aku menangis meratap pada-Mu, oh Tuhan

Sungguh aku menyesali segala dosa

Tenangkanlah jiwaku menghadapi panggilan-Mu

‘Ku merasa gelisah karena penuh dengan noda

Hapuskanlah dosa

Dosa yang kusengaja atau yang tak kusengaja

Terimalah pintaku dan ampunilah semua